Carʹgradskij sbornik: k XXIV Meždunarodnomu kongressu vizantinistov, Venecija, Paduja, 22-27 avgusta 2022 goda = Tzargrade studies : meeting the 24th International Congress of Byzantine Studies, Venice and Padua, 22-27 August 2022
Царьградский сборник к XXИВ Международному конгрессу византинистов, Венеция, Падуя, 22-27 августа 2022 года
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Sankt-Peterburg
Izdatelʹstvo Gosudarstvennogo Ėrmitaža
2022
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| Schriftenreihe: | Trudy Gosudarstvennogo Ėrmitaža
112 |
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| Online-Zugang: | Inhaltsverzeichnis Inhaltsverzeichnis Abstract Abstract |
| Beschreibung: | 226 Seiten Illustrationen |
| ISBN: | 9785935729868 |
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Datensatz im Suchindex
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CONTENTS Yuri Pyatnitsky. Byzantine Studies in the Hermitage Museum. The pages of history. 6 Svetlana B. Adaksina, Viktor L. Myts. The 14th — 15th-century Dormition Church of the Panair Bay Monastery on Ayu-Dag Mountain. 12 Alexey G. Furasiev. Late Roman shield emblems: Iconographical sources and archaeological evidence. 41 Anna V. Vilenskaya. The image of the billowing veil in antique and Byzantine art. 52 Olga B. Osharina. On late antique bone artefacts in the Coptic collection of the State Hermitage Museum. 65 Vera N. Zalesskaya. A bronze cross with the Incredulity of St Thomas from the State Hermitage Museum. 81 Elena B. Stepanova. The Myrelaion Convent in Constantinople: Sphragistic evidence. 86 Vera B. Guruleva. The State Hermitage Museum collection of Byzantine coins minted in
Cyprus. 93 Tatiana I. Slepova. Newly attributed imitations of 14th - 15th-century Venetian ducats from the collection of the State Hermitage Museum. 109 Elena A. Yarovaya. New facts on the Genoese lapidary in the Crimea. 123 Daria O. Vasilyeva. Turkish motifs in Ludolf Stockheim’s ‘Stammbuch’. 137 Yuri Pyatnitsky. Trabzon drawings by Nikolay Baklanov in the collection of the Oriental Department of the Hermitage Museum. 160 Elena Yu. Solomakha. The journey of the Kungur dish. On the history of the Hermitage Museum in the 1920s — 1930s.208 Abbreviations.220 Summaries. 221
СОДЕРЖАНИЕ Ю. А. Пятницкий, Эрмитажное византиноведение. Страницы истории. 6 С. Б. Адаксина, В. Л. Мыц. Храм XIV—XV веков монастыря Успения пресвятой Богородицы в бухте Панаир (гора Аю-Даг) . 12 А. Г. Фурасьев.
Позднеримские нащитные эмблемы: изобразительные источники и археологические реалии. 41 А. В. Виленская. К интерпретации образа воздушного покрывала на примере античных и византийских
памятников . 52 О. В. Ошарина. О группе позднеантичных изделий из кости в коптском собрании
Эрмитажа. 65 В. Н. Залесская. Бронзовый крест из Государственного Эрмитажа с изображением святого
Фомы. 81 Е. В. Степанова. Константинопольский монастырь Мирелейон: сфрагистические свидетельства
. 86 В. В. Гурулева. Византийские монеты, чеканенные на Кипре, в коллекции Государственного Эрмитажа. 93
Т. И. Слепова. Вновь атрибутированные подражания венецианским дукатам XIV—XV веков из собрания
Государственного Эрмитажа. 109 Е. А. Яровая. Новое о генуэзском лапидарии Крыма. 123 Д. О. Васильева. Турецкие сюжеты в Штамбухе Лудольфа Штокхайма. 137 Ю. А. Пятницкий. Трапезундские рисунки Н. Б. Бакланова в собрании Отдела Востока Эрмитажа. 160 Е. Ю. Соломаха. Путешествие кунгурского блюда. К истории Эрмитажа в 1920—1930-е годы . 208 Принятые сокращения. 220 Summaries. 221
SUMMARIES Yuri Pyatnitsky BYZANTINE STUDIES IN THE HERMITAGE MUSEUM. THE PAGES OF HISTORY This article precedes The Tsargrad Collection of Papers and, to a certain extent, is a programme article. It recounts how and when the tradition of publishing collections of scholarly articles in connection to the International Congresses of Byzantine Studies began in the State Hermitage Museum; the collections of articles published previously are listed, and the events related to the decision to change the place of the congress from Istanbul to Venice and Padua are described; the name of the Hermitage volume — The Tsargrad Collection of Papers is explained. From approximately 2005—2006, there have been tendencies to politicise Russian Byzantine studies of the 19th — first half of the 20th century, to present prominent Russian Byzantinists exclusively as representatives of the ‘imperial ambitions of Russia’, and their academic works as a political order of the tsarist government. These forced the author to look into the history of the Byzantine heritage in Russia and into the history of the study of Byzantine culture in general. In connection to it, the role of Catherine the Great and her grandchildren, Alexander I and Nicholas I, is discussed in the context of the Oriental policy of Russia. Such an essay is necessary in order to understand more objectively the formation of the museum collections, the period, and the reasons the scholarly studies of Byzantine culture began in Russia. Translated by Yuri Pyatnitsky Svetlana B. Adaksina, Viktor L. Myts THE 14TH - 15TH-CENTURY DORMITION
CHURCH OF THE PANAIR BAY MONASTERY ON AYU-DAG MOUNTAIN The archaeological sites on Ayu-Dag have captivated archaeologists since the 1780s. How ever, it was not until the late 20th — early 21st century that a team of researchers (A.V. Lysenko, S.L. Smekalov, I.B. Teslenko) managed to provide a relatively complete archaeological map of AyuDag Mountain owing to their comprehensive approach and modern scientific methods. At present, a total of 38 archaeological sites have been identified in the area. Of particular interest is a group of nine religious buildings, some of which appear to have functioned as part of a monastery; 221
SUMMARIES the structure that deserves particular attention is the church of the SS Peter and Paul Monastery. Despite the long tradition of the archaeological research spanning the period from the 1870s to the 2000s and pioneered by DM. Strukov, none of the known Christian monuments on AyuDag have been studied in sufficient depth. The published excavation materials often fall short of modern research standards. The church excavated in 1871 on the Monastery Cape has almost completely disappeared; the excavation data remained unsystematised and were published only partly. The monastery studied in 1994—1996 by the State Hermitage expedition, particularly its early period (10th — 13th centuries), also requires further examination. There is some evidence to suggest that in the 14th — 15th century the church complex was consecrated as the Church of the Dormition of the Theotokos. The monastery hosted the Panair festival which was cele brated by the Orthodox community named Parthenita. For this reason, until the 19 th century the area with the monastery ruins was known among the local residents as Panagia, and the bay as Panair. Translated by Natalia Magnes Alexey G. Furasiev LATE ROMAN SHIELD EMBLEMS: ICONOGRAPHICAL SOURCES AND ARCHAEOLOGICAL EVIDENCE The flamboyant decorations on the shields used by the army of the Roman Empire have been thoroughly studied by archaeology experts. The rich iconographie material dating from the 2nd — 4th centuries (including mosaics and reliefs on Trajan’s Column and the Column of Marcus Au relius in Rome) is supplemented by a number of painted
shields discovered during archaeologi cal excavations. Although the information available about the shield emblems is currently limited to painted designs, does that mean that there exist no archaeological data on shields with emblems made in other media such as metal? One of the most informative sources for investigation into Roman shield signs is Notitia Dignitatum, a list of civil and military officials and military units of the Late Roman Empire dating from the late 4th — early 5th century. This document covers all transformations undergone by the military administration in the Eastern Roman Empire before 395 AD and in the Western Roman Empire before the late 420s AD. The painted miniature illustrations in Notitia Dignitatum are of particular relevance to our study. These depict 265 shields with emblems of all legions and co horts listed and featured in the document. Drawing on the morphological features as well as iconographical and semiotic correspondences between images from Notitia Dignitatum, the paper identifies a pair of zoomorphic inlaid plaques from the Kerch necropolis and an eagle-shaped plaque recovered in the Contest burial (upper stretches of the Prut) as shield emblems. The plaques are alike in terms of design and style; their size and manufacturing techniques are also quite similar. The finds reflect a chronological and geographic tradition governing the design of ceremonial shields used by barbarian nobles serving in the Roman army. In all probability, the objects may have been made to order by Constantinople workshops in the second half of the 4th to
early 5th century. This local tradition may be iden tified as Bosphoran (Bosporan) in view of the fact that the Contesti burial, despite having been discovered further north of Kerch is also likely to have belonged to a member of the Bosphoran barbarian elite. Translated by Natalia Magnes 222
SUMMARIES Anna V. Vilenskaya THE IMAGE OF THE BILLOWING VEIL IN ANTIQUE AND BYZANTINE ART The study addresses one possible interpretation of the billowing veil, an attribute commonly present in antique painted images of gods and goddesses. The veil was frequendy associated with the canopy of heaven and daytime (or, more commonly, midnight) aether. As a rule, this mytholog ical motif was linked with the circle of life or, more broadly, with the idea of time, death and re birth. The image of a veiled deity originating from pagan culture was readily appropriated by Byz antine art; it absorbed the profound symbolism of early religions and was linked with the change of seasons, fear of death and unyielding hope for resurrection, while also referring to the celestial dome symbolising eternity. Translated by Natalia Magnes Olga B. Osharina ON LATE ANTIQUE BONE ARTEFACTS IN THE COPTIC COLLECTION OF THE STATE HERMITAGE MUSEUM The high prevalence of bone carvings in late antique Egyptian art is a phenomenon which may be exemplified by the Hermitage Museum collection. Ivory inlays of various form and content can be found on furniture, caskets, boxes, jewellery and household utensils. The most frequent motif is the Triumph of Dionysus and his entourage as well as compositions featuring the marine Thiasos. The motifs of the Nile and the sea naturally combine with images of Dionysus, Pan, Silenus, bacchantes, centaurs and horsemen. Depictions of Nereids rely on both the iconography and symbolism associ ated with Aphrodite and even replace her in some scenes. Depending on the purpose
of the artefact, Nereid images could receive different symbolic interpretations. While the decorative function of the marine Thiasos seems to predominate in the Late Roman Empire, the original role of the Nereid as a psychopomp survived well into the early Christian period, when the Nereids could be depicted escorting the souls of the righteous ones to the afterworld or joining the wedding party. The publication of previously unknown artefacts and new archaeological discoveries places the Hermitage exhibits in the broader context of late antique bone carvings and helps to obtain more clarity on their dating. The style and imagery of the compositions on our casket evoke numerous examples from 3rd- and 4th-century Hellenistic art, all of which are fairly easily at tributable. To a certain extent, a terminus ante quem is provided by early Nereid textiles dating to the 4th — 6th centuries, partly inspired by paintings and mosaics. Translated by Natalia Magnes Vera N. Zalesskaya A BRONZE CROSS WITH THE INCREDULITY OF ST THOMAS FROM THE STATE HERMITAGE MUSEUM The paper focuses on a bronze altar cross with the Incredulity of St Thomas at the intersec tion which forms part of the Byzantine art collection held by the State Hermitage Museum. The top arm of the cross carries an image of the Virgin and Child enthroned, the lateral arms depict 223
SUMMARIES archangels with wands. The catalogue of Byzantine art metalwork dates the cross to the 10th cen tury on the basis of its style and claims that the cross may have originated from a workshop in Constantinople or Asia Minor. The available written sources, on the one hand, confirm this broad localisation and, on the other, make it possible to narrow it down to a single manufacturing site. A monastery and churches under the heavenly patronage of St Thomas existed in Brochthoi in the Bithynia province (Asia Minor) as early as in the 6th century. A mural in one of these churches depicted St Thomas next to the Virgin and Child and archangels. All the religious structures were ruined by Persians in the 7th century. Later, the relics of St Thomas from Brochthoi were taken to Constantinople and transferred to St Olympias’ Convent which started making eulogia linked with the newly recovered relics. St Olympias’ Convent may have been the place from which a customer named Cosmas commissioned the altar cross with the Incredulity of St Thomas. Translated by Natalia Magnes Elena B. Stepanova THE MYRELAION CONVENT IN CONSTANTINOPLE: SPHRAGISTIC EVIDENCE The Myrelaion Palace was built under Emperor Romanos I Lekapenos (920-944) as a royal resi dence. The crypt of the palace church served as the Lekapenos family vault, where Romanos I’s body was also laid to rest. The palace was converted into a convent consecrated to the Theotokos, possibly during Romanos I’s lifetime, and operated a number of hospitia. The only structure that has survived from the convent until now is the church
which the Turks turned into a mosque named Bodrum Cami. The convent is linked with rare 11th-century seals. Three of them belonged to Michael, έπΐ τού κοιτώνος and the Great Curator of Myrelaion (two of these are held in the State Hermitage Museum). The seals illustrate three stages of his progress from a primicerius to a protospatharios and then to a patricius. As a rule, curators in Byzantium were entrusted with the management of the emperors’ property. However, a similar position also existed in the Byzantine church structure although information about this post is extremely scanty. The Myrelaion Convent is known to have owned vast lands which may have been managed by ‘great curators’. The available sphragistic material, including Michael’s seals, suggests that this position in the church hierarchy may have been taken by secular administrators. Translated by Natalia Magnes Vera B. Guruleva THE STATE HERMITAGE MUSEUM COLLECTION OF BYZANTINE COINS MINTED IN CYPRUS The paper reviews coins minted in Cyprus during the period when the island formed part of the Byzantine Empire (some of the coins have never been published before). Additionally, the author focuses on the coins minted in other parts of the empire which may have been in use in Cyprus. Translated by Natalia Magnes 224
SUMMARIES Tatiana I. Slepova NEWLY ATTRIBUTED IMITATIONS OF 14TH - 15TH-CENTURY VENETIAN DUCATS FROM THE COLLECTION OF THE STATE HERMITAGE MUSEUM The paper reviews sixteen coins imitating Venetian ducats, which have been attributed by the au thor. After a review of copious published sources on imitation coins, the author focuses on imi tated Venetian ducats on the island of Chios minted by the Genoese Maona, a society established to manage the revenues obtained on Chios. The author performs an in-depth analysis of hoards recovered in the Carpathian—Danube region. It is suggested that the imitation coins now held in the Hermitage may have originated from undocumented hoards found in the Northern Black Sea Region in the late 19th to early 20th century. Translated by Natalia Magnes Elena A. Yarovaya NEW FACTS ON THE GENOESE LAPIDARY IN THE CRIMEA The year 2021 saw the 760th anniversary since the Northern Black Sea Coast was first popu lated by Ligurians. The mapping and exploration of Genoese historical sites in Crimea have been ongoing for five centuries. Over 2010—2020 the Crimean Genoese lapidary was enriched with new monuments, long known or newly discovered. Both groups of monuments bearing the arms of Genoese administrators in Crimea are addressed in this study. Translated by Natalia Magnes Daria O. Vasilyeva TURKISH MOTIFS IN LUDOLF STOCKHEIM’S ‘STAMMBUCH’ The paper focuses on ‘Stammbuch’ (one of the four manuscripts from the Franz Teschner Collection in the State Hermitage Museum) and a series of Oriental drawings by Ludolf Stock heim, which are featured in the
book as two groups numbering 77 items in total. The book reflects the trends dominating in European art over the late 16th century and is closely connected with the genre of albums of Turkish costumes. Both the imagery and execution were inspired by en gravings (prints) found in European printed books dating from the mid- to late 16th century as well as by coloured hand-painted illustrations from prototype manuscripts which may have not survived till now. At least part of such albums may be directly attributable to painters of the Istanbul circle, including another album from the Teschner Collection, also held in the Hermitage. The drawings depict Muslim and non-Muslim residents of Ottoman Turkey and capture de tails of the military uniforms, courtly attires and robes worn by Muslim religious figures, priests and monks of other religious communities. Many of the images represent genre and street scenes and provide a valuable source of knowledge on the appearance and state of preservation of several well-known architectural landmarks across the Ottoman Empire. The prevalence of Oriental themes in ‘Stammbuch’ by Ludolf Stockheim, who died in 1596 soon after returning from Italy after his academic trip and is unlikely to have visited Ottoman 225
SUMMARIES Turkey during his Efetime, may have been a homage to such standard illustrations which were in fashion then and reached far beyond their intended genre. Translated by Natalia Magnes Yuri Pyatnitsky TRABZON DRAWINGS BY NIKOLAY BAKLANOV IN THE COLLECTION OF THE ORIENTAL DEPARTMENT OF THE HERMITAGE MUSEUM This article introduces, for the first time, watercolours and drawings by the artist and architect Nikolay Borisovich Baklanov that were made during his participation in the Trabzon expedition in the summer of 1917. The State Hermitage acquired them from its rightful heiress in 2019—2021. For various reasons, Baklanov’s pictorial works were not added to the fund of the Trabzon expedi tion kept in the Archive of the Russian Academy of Sciences in St Petersburg. Therefore, they are of great scholarly interest. Besides thirteen full-scale watercolours of ancient monuments of Trab zon, including a unique depiction of frescoes of the Palace Church in the Citadel and two friendly caricatures, the article also publishes three watercolours of Armenian monasteries of Haghpat and Sanahin, which the artist created after the end of the expedition, before his return to Moscow. Also reproduced are four ink drawings made by Baklanov in 1919 in Moscow for an unrealised publication on the monuments of Trabzon. The article provides a detailed account of the reasons and circumstances of the formation of the Trabzon expedition, its participants, working conditions, and goals, as well as the results and significance of the expedition materials. In addition, Nikolay Baklanov’s
reproduction of several drawings and watercolours from a private collection in an ar ticle and a monograph about the Trabzon expedition written by Anna Tsypkina were subjected to critical analysis. Translated byYuri Tyatnitsky Elena Yu. Solomakha THE JOURNEY OF THE KUNGUR DISH. ON THE HISTORY OF THE HERMITAGE MUSEUM IN THE 1920S - 1930S The paper recounts the story of several items transferred from the Kungur Museum to the Her mitage, notably the Sasanian dish portraying Khosrow II with four courtiers and a Byzantine dish depicting Venus and Anchises. The story reflects the controversies surrounding museum acquisi tions and provides an account of the efforts undertaken by the curators in the 1920s and 1930s to expand the Hermitage collection. Having learned from his coUeagues that the Kungur Museum was in possession of several valuable art objects, I.A. Orbeli, Head of the State Hermitage’s De partment of Medieval Muslim Culture, and L.A. Matsulevich, Curator of the Byzantine Depart ment, used aU their energies to obtain these artefacts. Upon consultation with the Director of the Kungur Museum, the artworks were exchanged for mineral and sofl coUections ‘characterising the natural and industrial resources of Perm Krai’ which the Geological Museum and the Soil Science Institute of the USSR Academy of Sciences handed over to the Kungur Museum for this specific purpose on request of the Hermitage. Later, the Sasanian dish from the Hermitage Museum col lection was presented at the exhibition held in conjunction with the 2nd International Congress 226
SUMMARIES on Iranian Art in London in 1931 and attracted the attention of Antikvariat, an agency affiliated with the Soviet Ministry of Foreign Trade which sold exhibits from Soviet museums to foreign buyers. To protect the collection, Orbeli wrote to Josef Stalin requesting a personal meeting. Stalin promised to keep the Oriental Unit intact, and the Sasanian silver collection was retained in its en tirety. The artefacts discovered in Kungur and retained by the Hermitage owing to the selfless work of the curators are now a gem of the Hermitage’s Oriental Department. Translated by Natalia Magnes
УДК 949.5(495)(063) ББК (1)63.3(0)4 Т78 Печатается по решению Редакционно-издательского совета Государственного Эрмитажа Научные редакторы: В. Н. Залесская, Ю. А. Пятницкий Редакционная коллегия: В. Н. Залесская, Ю. А. Пятницкий, Е. В. Степанова Труды Государственного Эрмитажа : Т. 112 :
Царьградский сборник : К XXIV МежТ78 дународному конгрессу византинистов. Венеция, Падуя, 22-27 августа 2022 года / Государственный Эрмитаж. — СПб. : Изд-во Гос. Эрмитажа, 2022. — 230 с. : ил. ISBN 978-5-93572-986-8 Издание подготовлено Отделом Востока Государственного Эрмитажа к XXIV Меж
дународному конгрессу византинистов (Венеция и Падуя, Италия, 22—27 августа 2022 года). Публикация тематических византийских сборников к конгрессу стала доброй многолетней традицией музея, отражающей его потенциал как крупного научного центра. Данная книга посвящена публикации материальных
произведений культуры Византии и сопредельных стран, раскрывающих сложную многовековую роль разных регионов империи в сложе нии того уникального явления, которое получило название Византийская цивилизация. Тематика статей охватывает широкий географический и хронологический диапазон. В ос новном
статьи построены на анализе памятников из собрания Государственного Эрмитажа; публикуются также новые археологические находки, сделанные экспедициями музея. Издание предназначено для медиевистов и широкого круга читателей, интересующих ся историей культуры и искусства Византии и сопредельных стран.
УДК 949.5(495)(063) ББК (1)63.3(0)4 На обложке: Мечеть Бодрум-джами, бывшая церковь монастыря Мирелейон. X век. Стамбул На
авантитуле: Заставка художника Ю. А. Васильева. Государственный Эрмитаж ISBN 978-5-93572-986-8 _ —----- ^ BaY^TCbs S t а з ійізЫ юшек ' *** ) ' ( © Государственный Эрмитаж, 2022 |
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CONTENTS Yuri Pyatnitsky. Byzantine Studies in the Hermitage Museum. The pages of history. 6 Svetlana B. Adaksina, Viktor L. Myts. The 14th — 15th-century Dormition Church of the Panair Bay Monastery on Ayu-Dag Mountain. 12 Alexey G. Furasiev. Late Roman shield emblems: Iconographical sources and archaeological evidence. 41 Anna V. Vilenskaya. The image of the billowing veil in antique and Byzantine art. 52 Olga B. Osharina. On late antique bone artefacts in the Coptic collection of the State Hermitage Museum. 65 Vera N. Zalesskaya. A bronze cross with the Incredulity of St Thomas from the State Hermitage Museum. 81 Elena B. Stepanova. The Myrelaion Convent in Constantinople: Sphragistic evidence. 86 Vera B. Guruleva. The State Hermitage Museum collection of Byzantine coins minted in
Cyprus. 93 Tatiana I. Slepova. Newly attributed imitations of 14th - 15th-century Venetian ducats from the collection of the State Hermitage Museum. 109 Elena A. Yarovaya. New facts on the Genoese lapidary in the Crimea. 123 Daria O. Vasilyeva. Turkish motifs in Ludolf Stockheim’s ‘Stammbuch’. 137 Yuri Pyatnitsky. Trabzon drawings by Nikolay Baklanov in the collection of the Oriental Department of the Hermitage Museum. 160 Elena Yu. Solomakha. The journey of the Kungur dish. On the history of the Hermitage Museum in the 1920s — 1930s.208 Abbreviations.220 Summaries. 221
СОДЕРЖАНИЕ Ю. А. Пятницкий, Эрмитажное византиноведение. Страницы истории. 6 С. Б. Адаксина, В. Л. Мыц. Храм XIV—XV веков монастыря Успения пресвятой Богородицы в бухте Панаир (гора Аю-Даг) . 12 А. Г. Фурасьев.
Позднеримские нащитные эмблемы: изобразительные источники и археологические реалии. 41 А. В. Виленская. К интерпретации образа воздушного покрывала на примере античных и византийских
памятников . 52 О. В. Ошарина. О группе позднеантичных изделий из кости в коптском собрании
Эрмитажа. 65 В. Н. Залесская. Бронзовый крест из Государственного Эрмитажа с изображением святого
Фомы. 81 Е. В. Степанова. Константинопольский монастырь Мирелейон: сфрагистические свидетельства
. 86 В. В. Гурулева. Византийские монеты, чеканенные на Кипре, в коллекции Государственного Эрмитажа. 93
Т. И. Слепова. Вновь атрибутированные подражания венецианским дукатам XIV—XV веков из собрания
Государственного Эрмитажа. 109 Е. А. Яровая. Новое о генуэзском лапидарии Крыма. 123 Д. О. Васильева. Турецкие сюжеты в Штамбухе Лудольфа Штокхайма. 137 Ю. А. Пятницкий. Трапезундские рисунки Н. Б. Бакланова в собрании Отдела Востока Эрмитажа. 160 Е. Ю. Соломаха. Путешествие кунгурского блюда. К истории Эрмитажа в 1920—1930-е годы . 208 Принятые сокращения. 220 Summaries. 221
SUMMARIES Yuri Pyatnitsky BYZANTINE STUDIES IN THE HERMITAGE MUSEUM. THE PAGES OF HISTORY This article precedes The Tsargrad Collection of Papers and, to a certain extent, is a programme article. It recounts how and when the tradition of publishing collections of scholarly articles in connection to the International Congresses of Byzantine Studies began in the State Hermitage Museum; the collections of articles published previously are listed, and the events related to the decision to change the place of the congress from Istanbul to Venice and Padua are described; the name of the Hermitage volume — The Tsargrad Collection of Papers is explained. From approximately 2005—2006, there have been tendencies to politicise Russian Byzantine studies of the 19th — first half of the 20th century, to present prominent Russian Byzantinists exclusively as representatives of the ‘imperial ambitions of Russia’, and their academic works as a political order of the tsarist government. These forced the author to look into the history of the Byzantine heritage in Russia and into the history of the study of Byzantine culture in general. In connection to it, the role of Catherine the Great and her grandchildren, Alexander I and Nicholas I, is discussed in the context of the Oriental policy of Russia. Such an essay is necessary in order to understand more objectively the formation of the museum collections, the period, and the reasons the scholarly studies of Byzantine culture began in Russia. Translated by Yuri Pyatnitsky Svetlana B. Adaksina, Viktor L. Myts THE 14TH - 15TH-CENTURY DORMITION
CHURCH OF THE PANAIR BAY MONASTERY ON AYU-DAG MOUNTAIN The archaeological sites on Ayu-Dag have captivated archaeologists since the 1780s. How ever, it was not until the late 20th — early 21st century that a team of researchers (A.V. Lysenko, S.L. Smekalov, I.B. Teslenko) managed to provide a relatively complete archaeological map of AyuDag Mountain owing to their comprehensive approach and modern scientific methods. At present, a total of 38 archaeological sites have been identified in the area. Of particular interest is a group of nine religious buildings, some of which appear to have functioned as part of a monastery; 221
SUMMARIES the structure that deserves particular attention is the church of the SS Peter and Paul Monastery. Despite the long tradition of the archaeological research spanning the period from the 1870s to the 2000s and pioneered by DM. Strukov, none of the known Christian monuments on AyuDag have been studied in sufficient depth. The published excavation materials often fall short of modern research standards. The church excavated in 1871 on the Monastery Cape has almost completely disappeared; the excavation data remained unsystematised and were published only partly. The monastery studied in 1994—1996 by the State Hermitage expedition, particularly its early period (10th — 13th centuries), also requires further examination. There is some evidence to suggest that in the 14th — 15th century the church complex was consecrated as the Church of the Dormition of the Theotokos. The monastery hosted the Panair festival which was cele brated by the Orthodox community named Parthenita. For this reason, until the 19 th century the area with the monastery ruins was known among the local residents as Panagia, and the bay as Panair. Translated by Natalia Magnes Alexey G. Furasiev LATE ROMAN SHIELD EMBLEMS: ICONOGRAPHICAL SOURCES AND ARCHAEOLOGICAL EVIDENCE The flamboyant decorations on the shields used by the army of the Roman Empire have been thoroughly studied by archaeology experts. The rich iconographie material dating from the 2nd — 4th centuries (including mosaics and reliefs on Trajan’s Column and the Column of Marcus Au relius in Rome) is supplemented by a number of painted
shields discovered during archaeologi cal excavations. Although the information available about the shield emblems is currently limited to painted designs, does that mean that there exist no archaeological data on shields with emblems made in other media such as metal? One of the most informative sources for investigation into Roman shield signs is Notitia Dignitatum, a list of civil and military officials and military units of the Late Roman Empire dating from the late 4th — early 5th century. This document covers all transformations undergone by the military administration in the Eastern Roman Empire before 395 AD and in the Western Roman Empire before the late 420s AD. The painted miniature illustrations in Notitia Dignitatum are of particular relevance to our study. These depict 265 shields with emblems of all legions and co horts listed and featured in the document. Drawing on the morphological features as well as iconographical and semiotic correspondences between images from Notitia Dignitatum, the paper identifies a pair of zoomorphic inlaid plaques from the Kerch necropolis and an eagle-shaped plaque recovered in the Contest burial (upper stretches of the Prut) as shield emblems. The plaques are alike in terms of design and style; their size and manufacturing techniques are also quite similar. The finds reflect a chronological and geographic tradition governing the design of ceremonial shields used by barbarian nobles serving in the Roman army. In all probability, the objects may have been made to order by Constantinople workshops in the second half of the 4th to
early 5th century. This local tradition may be iden tified as Bosphoran (Bosporan) in view of the fact that the Contesti burial, despite having been discovered further north of Kerch is also likely to have belonged to a member of the Bosphoran barbarian elite. Translated by Natalia Magnes 222
SUMMARIES Anna V. Vilenskaya THE IMAGE OF THE BILLOWING VEIL IN ANTIQUE AND BYZANTINE ART The study addresses one possible interpretation of the billowing veil, an attribute commonly present in antique painted images of gods and goddesses. The veil was frequendy associated with the canopy of heaven and daytime (or, more commonly, midnight) aether. As a rule, this mytholog ical motif was linked with the circle of life or, more broadly, with the idea of time, death and re birth. The image of a veiled deity originating from pagan culture was readily appropriated by Byz antine art; it absorbed the profound symbolism of early religions and was linked with the change of seasons, fear of death and unyielding hope for resurrection, while also referring to the celestial dome symbolising eternity. Translated by Natalia Magnes Olga B. Osharina ON LATE ANTIQUE BONE ARTEFACTS IN THE COPTIC COLLECTION OF THE STATE HERMITAGE MUSEUM The high prevalence of bone carvings in late antique Egyptian art is a phenomenon which may be exemplified by the Hermitage Museum collection. Ivory inlays of various form and content can be found on furniture, caskets, boxes, jewellery and household utensils. The most frequent motif is the Triumph of Dionysus and his entourage as well as compositions featuring the marine Thiasos. The motifs of the Nile and the sea naturally combine with images of Dionysus, Pan, Silenus, bacchantes, centaurs and horsemen. Depictions of Nereids rely on both the iconography and symbolism associ ated with Aphrodite and even replace her in some scenes. Depending on the purpose
of the artefact, Nereid images could receive different symbolic interpretations. While the decorative function of the marine Thiasos seems to predominate in the Late Roman Empire, the original role of the Nereid as a psychopomp survived well into the early Christian period, when the Nereids could be depicted escorting the souls of the righteous ones to the afterworld or joining the wedding party. The publication of previously unknown artefacts and new archaeological discoveries places the Hermitage exhibits in the broader context of late antique bone carvings and helps to obtain more clarity on their dating. The style and imagery of the compositions on our casket evoke numerous examples from 3rd- and 4th-century Hellenistic art, all of which are fairly easily at tributable. To a certain extent, a terminus ante quem is provided by early Nereid textiles dating to the 4th — 6th centuries, partly inspired by paintings and mosaics. Translated by Natalia Magnes Vera N. Zalesskaya A BRONZE CROSS WITH THE INCREDULITY OF ST THOMAS FROM THE STATE HERMITAGE MUSEUM The paper focuses on a bronze altar cross with the Incredulity of St Thomas at the intersec tion which forms part of the Byzantine art collection held by the State Hermitage Museum. The top arm of the cross carries an image of the Virgin and Child enthroned, the lateral arms depict 223
SUMMARIES archangels with wands. The catalogue of Byzantine art metalwork dates the cross to the 10th cen tury on the basis of its style and claims that the cross may have originated from a workshop in Constantinople or Asia Minor. The available written sources, on the one hand, confirm this broad localisation and, on the other, make it possible to narrow it down to a single manufacturing site. A monastery and churches under the heavenly patronage of St Thomas existed in Brochthoi in the Bithynia province (Asia Minor) as early as in the 6th century. A mural in one of these churches depicted St Thomas next to the Virgin and Child and archangels. All the religious structures were ruined by Persians in the 7th century. Later, the relics of St Thomas from Brochthoi were taken to Constantinople and transferred to St Olympias’ Convent which started making eulogia linked with the newly recovered relics. St Olympias’ Convent may have been the place from which a customer named Cosmas commissioned the altar cross with the Incredulity of St Thomas. Translated by Natalia Magnes Elena B. Stepanova THE MYRELAION CONVENT IN CONSTANTINOPLE: SPHRAGISTIC EVIDENCE The Myrelaion Palace was built under Emperor Romanos I Lekapenos (920-944) as a royal resi dence. The crypt of the palace church served as the Lekapenos family vault, where Romanos I’s body was also laid to rest. The palace was converted into a convent consecrated to the Theotokos, possibly during Romanos I’s lifetime, and operated a number of hospitia. The only structure that has survived from the convent until now is the church
which the Turks turned into a mosque named Bodrum Cami. The convent is linked with rare 11th-century seals. Three of them belonged to Michael, έπΐ τού κοιτώνος and the Great Curator of Myrelaion (two of these are held in the State Hermitage Museum). The seals illustrate three stages of his progress from a primicerius to a protospatharios and then to a patricius. As a rule, curators in Byzantium were entrusted with the management of the emperors’ property. However, a similar position also existed in the Byzantine church structure although information about this post is extremely scanty. The Myrelaion Convent is known to have owned vast lands which may have been managed by ‘great curators’. The available sphragistic material, including Michael’s seals, suggests that this position in the church hierarchy may have been taken by secular administrators. Translated by Natalia Magnes Vera B. Guruleva THE STATE HERMITAGE MUSEUM COLLECTION OF BYZANTINE COINS MINTED IN CYPRUS The paper reviews coins minted in Cyprus during the period when the island formed part of the Byzantine Empire (some of the coins have never been published before). Additionally, the author focuses on the coins minted in other parts of the empire which may have been in use in Cyprus. Translated by Natalia Magnes 224
SUMMARIES Tatiana I. Slepova NEWLY ATTRIBUTED IMITATIONS OF 14TH - 15TH-CENTURY VENETIAN DUCATS FROM THE COLLECTION OF THE STATE HERMITAGE MUSEUM The paper reviews sixteen coins imitating Venetian ducats, which have been attributed by the au thor. After a review of copious published sources on imitation coins, the author focuses on imi tated Venetian ducats on the island of Chios minted by the Genoese Maona, a society established to manage the revenues obtained on Chios. The author performs an in-depth analysis of hoards recovered in the Carpathian—Danube region. It is suggested that the imitation coins now held in the Hermitage may have originated from undocumented hoards found in the Northern Black Sea Region in the late 19th to early 20th century. Translated by Natalia Magnes Elena A. Yarovaya NEW FACTS ON THE GENOESE LAPIDARY IN THE CRIMEA The year 2021 saw the 760th anniversary since the Northern Black Sea Coast was first popu lated by Ligurians. The mapping and exploration of Genoese historical sites in Crimea have been ongoing for five centuries. Over 2010—2020 the Crimean Genoese lapidary was enriched with new monuments, long known or newly discovered. Both groups of monuments bearing the arms of Genoese administrators in Crimea are addressed in this study. Translated by Natalia Magnes Daria O. Vasilyeva TURKISH MOTIFS IN LUDOLF STOCKHEIM’S ‘STAMMBUCH’ The paper focuses on ‘Stammbuch’ (one of the four manuscripts from the Franz Teschner Collection in the State Hermitage Museum) and a series of Oriental drawings by Ludolf Stock heim, which are featured in the
book as two groups numbering 77 items in total. The book reflects the trends dominating in European art over the late 16th century and is closely connected with the genre of albums of Turkish costumes. Both the imagery and execution were inspired by en gravings (prints) found in European printed books dating from the mid- to late 16th century as well as by coloured hand-painted illustrations from prototype manuscripts which may have not survived till now. At least part of such albums may be directly attributable to painters of the Istanbul circle, including another album from the Teschner Collection, also held in the Hermitage. The drawings depict Muslim and non-Muslim residents of Ottoman Turkey and capture de tails of the military uniforms, courtly attires and robes worn by Muslim religious figures, priests and monks of other religious communities. Many of the images represent genre and street scenes and provide a valuable source of knowledge on the appearance and state of preservation of several well-known architectural landmarks across the Ottoman Empire. The prevalence of Oriental themes in ‘Stammbuch’ by Ludolf Stockheim, who died in 1596 soon after returning from Italy after his academic trip and is unlikely to have visited Ottoman 225
SUMMARIES Turkey during his Efetime, may have been a homage to such standard illustrations which were in fashion then and reached far beyond their intended genre. Translated by Natalia Magnes Yuri Pyatnitsky TRABZON DRAWINGS BY NIKOLAY BAKLANOV IN THE COLLECTION OF THE ORIENTAL DEPARTMENT OF THE HERMITAGE MUSEUM This article introduces, for the first time, watercolours and drawings by the artist and architect Nikolay Borisovich Baklanov that were made during his participation in the Trabzon expedition in the summer of 1917. The State Hermitage acquired them from its rightful heiress in 2019—2021. For various reasons, Baklanov’s pictorial works were not added to the fund of the Trabzon expedi tion kept in the Archive of the Russian Academy of Sciences in St Petersburg. Therefore, they are of great scholarly interest. Besides thirteen full-scale watercolours of ancient monuments of Trab zon, including a unique depiction of frescoes of the Palace Church in the Citadel and two friendly caricatures, the article also publishes three watercolours of Armenian monasteries of Haghpat and Sanahin, which the artist created after the end of the expedition, before his return to Moscow. Also reproduced are four ink drawings made by Baklanov in 1919 in Moscow for an unrealised publication on the monuments of Trabzon. The article provides a detailed account of the reasons and circumstances of the formation of the Trabzon expedition, its participants, working conditions, and goals, as well as the results and significance of the expedition materials. In addition, Nikolay Baklanov’s
reproduction of several drawings and watercolours from a private collection in an ar ticle and a monograph about the Trabzon expedition written by Anna Tsypkina were subjected to critical analysis. Translated byYuri Tyatnitsky Elena Yu. Solomakha THE JOURNEY OF THE KUNGUR DISH. ON THE HISTORY OF THE HERMITAGE MUSEUM IN THE 1920S - 1930S The paper recounts the story of several items transferred from the Kungur Museum to the Her mitage, notably the Sasanian dish portraying Khosrow II with four courtiers and a Byzantine dish depicting Venus and Anchises. The story reflects the controversies surrounding museum acquisi tions and provides an account of the efforts undertaken by the curators in the 1920s and 1930s to expand the Hermitage collection. Having learned from his coUeagues that the Kungur Museum was in possession of several valuable art objects, I.A. Orbeli, Head of the State Hermitage’s De partment of Medieval Muslim Culture, and L.A. Matsulevich, Curator of the Byzantine Depart ment, used aU their energies to obtain these artefacts. Upon consultation with the Director of the Kungur Museum, the artworks were exchanged for mineral and sofl coUections ‘characterising the natural and industrial resources of Perm Krai’ which the Geological Museum and the Soil Science Institute of the USSR Academy of Sciences handed over to the Kungur Museum for this specific purpose on request of the Hermitage. Later, the Sasanian dish from the Hermitage Museum col lection was presented at the exhibition held in conjunction with the 2nd International Congress 226
SUMMARIES on Iranian Art in London in 1931 and attracted the attention of Antikvariat, an agency affiliated with the Soviet Ministry of Foreign Trade which sold exhibits from Soviet museums to foreign buyers. To protect the collection, Orbeli wrote to Josef Stalin requesting a personal meeting. Stalin promised to keep the Oriental Unit intact, and the Sasanian silver collection was retained in its en tirety. The artefacts discovered in Kungur and retained by the Hermitage owing to the selfless work of the curators are now a gem of the Hermitage’s Oriental Department. Translated by Natalia Magnes
УДК 949.5(495)(063) ББК (1)63.3(0)4 Т78 Печатается по решению Редакционно-издательского совета Государственного Эрмитажа Научные редакторы: В. Н. Залесская, Ю. А. Пятницкий Редакционная коллегия: В. Н. Залесская, Ю. А. Пятницкий, Е. В. Степанова Труды Государственного Эрмитажа : Т. 112 :
Царьградский сборник : К XXIV МежТ78 дународному конгрессу византинистов. Венеция, Падуя, 22-27 августа 2022 года / Государственный Эрмитаж. — СПб. : Изд-во Гос. Эрмитажа, 2022. — 230 с. : ил. ISBN 978-5-93572-986-8 Издание подготовлено Отделом Востока Государственного Эрмитажа к XXIV Меж
дународному конгрессу византинистов (Венеция и Падуя, Италия, 22—27 августа 2022 года). Публикация тематических византийских сборников к конгрессу стала доброй многолетней традицией музея, отражающей его потенциал как крупного научного центра. Данная книга посвящена публикации материальных
произведений культуры Византии и сопредельных стран, раскрывающих сложную многовековую роль разных регионов империи в сложе нии того уникального явления, которое получило название Византийская цивилизация. Тематика статей охватывает широкий географический и хронологический диапазон. В ос новном
статьи построены на анализе памятников из собрания Государственного Эрмитажа; публикуются также новые археологические находки, сделанные экспедициями музея. Издание предназначено для медиевистов и широкого круга читателей, интересующих ся историей культуры и искусства Византии и сопредельных стран.
УДК 949.5(495)(063) ББК (1)63.3(0)4 На обложке: Мечеть Бодрум-джами, бывшая церковь монастыря Мирелейон. X век. Стамбул На
авантитуле: Заставка художника Ю. А. Васильева. Государственный Эрмитаж ISBN 978-5-93572-986-8 _ —----- ^ BaY^TCbs S t а з ійізЫ юшек ' *** ) ' ( © Государственный Эрмитаж, 2022 |
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| genre | (DE-588)1071861417 Konferenzschrift 2022 Venedig Padua gnd-content |
| genre_facet | Konferenzschrift 2022 Venedig Padua |
| geographic | Byzantinisches Reich (DE-588)4009256-2 gnd |
| geographic_facet | Byzantinisches Reich |
| id | DE-604.BV048690153 |
| illustrated | Illustrated |
| index_date | 2024-07-03T21:27:14Z |
| indexdate | 2024-11-19T13:04:29Z |
| institution | BVB |
| institution_GND | (DE-588)1266871942 (DE-588)2124053-X |
| isbn | 9785935729868 |
| language | Russian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-034064375 |
| oclc_num | 1365040778 |
| open_access_boolean | |
| owner | DE-12 DE-255 |
| owner_facet | DE-12 DE-255 |
| physical | 226 Seiten Illustrationen |
| psigel | BSB_NED_20230420 gbd_1 |
| publishDate | 2022 |
| publishDateSearch | 2022 |
| publishDateSort | 2022 |
| publisher | Izdatelʹstvo Gosudarstvennogo Ėrmitaža |
| record_format | marc |
| series | Trudy Gosudarstvennogo Ėrmitaža |
| series2 | Trudy Gosudarstvennogo Ėrmitaža |
| spelling | International Congress of Byzantine Studies 24. 2022 Venedig; Padua Verfasser (DE-588)1266871942 aut 880-02 Carʹgradskij sbornik k XXIV Meždunarodnomu kongressu vizantinistov, Venecija, Paduja, 22-27 avgusta 2022 goda = Tzargrade studies : meeting the 24th International Congress of Byzantine Studies, Venice and Padua, 22-27 August 2022 Gosudarstvennyj Ėrmitaž ; naučnye redaktory: V.N. Zalesskaja, Ju. A. Pjatnickij Tzargrade studies 880-03 Sankt-Peterburg Izdatelʹstvo Gosudarstvennogo Ėrmitaža 2022 226 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier 880-04 Trudy Gosudarstvennogo Ėrmitaža 112 Text russisch. - Inhaltsverzeichnis in Russisch und Englisch, Zusammenfassungen in Englisch In kyrillischer Schrift Geschichte gnd rswk-swf Kulturkontakt (DE-588)4033569-0 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 2022 Venedig Padua gnd-content Byzantinisches Reich (DE-588)4009256-2 g Kunst (DE-588)4114333-4 s Kulturkontakt (DE-588)4033569-0 s Kulturaustausch (DE-588)4165964-8 s Geschichte z DE-604 880-01 Zalesskaja, Vera Nikolaevna ca. 20./21. Jh. (DE-588)143051997 edt Pjatnickij, Jurij Aleksandrovič (DE-588)1056125594 edt Gosudarstvennyj Ėrmitaž (DE-588)2124053-X isb Trudy Gosudarstvennogo Ėrmitaža 112 (DE-604)BV011847213 112 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=034064375&sequence=000001&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=034064375&sequence=000003&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=034064375&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Abstract 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=034064375&sequence=000007&line_number=0004&func_code=DB_RECORDS&service_type=MEDIA Abstract 700-01/(N Залесская, Вера Николаевна edt 245-02/(N Царьградский сборник к XXИВ Международному конгрессу византинистов, Венеция, Падуя, 22-27 августа 2022 года 264-03/(N Санкт-Петербург Издательство Государственного Эрмитажа 2022 490-04/(N Труды Государственного Эрми |
| spellingShingle | Carʹgradskij sbornik k XXIV Meždunarodnomu kongressu vizantinistov, Venecija, Paduja, 22-27 avgusta 2022 goda = Tzargrade studies : meeting the 24th International Congress of Byzantine Studies, Venice and Padua, 22-27 August 2022 Trudy Gosudarstvennogo Ėrmitaža Kulturkontakt (DE-588)4033569-0 gnd Kulturaustausch (DE-588)4165964-8 gnd Kunst (DE-588)4114333-4 gnd |
| subject_GND | (DE-588)4033569-0 (DE-588)4165964-8 (DE-588)4114333-4 (DE-588)4009256-2 (DE-588)1071861417 |
| title | Carʹgradskij sbornik k XXIV Meždunarodnomu kongressu vizantinistov, Venecija, Paduja, 22-27 avgusta 2022 goda = Tzargrade studies : meeting the 24th International Congress of Byzantine Studies, Venice and Padua, 22-27 August 2022 |
| title_alt | Tzargrade studies |
| title_auth | Carʹgradskij sbornik k XXIV Meždunarodnomu kongressu vizantinistov, Venecija, Paduja, 22-27 avgusta 2022 goda = Tzargrade studies : meeting the 24th International Congress of Byzantine Studies, Venice and Padua, 22-27 August 2022 |
| title_exact_search | Carʹgradskij sbornik k XXIV Meždunarodnomu kongressu vizantinistov, Venecija, Paduja, 22-27 avgusta 2022 goda = Tzargrade studies : meeting the 24th International Congress of Byzantine Studies, Venice and Padua, 22-27 August 2022 |
| title_exact_search_txtP | Carʹgradskij sbornik k XXIV Meždunarodnomu kongressu vizantinistov, Venecija, Paduja, 22-27 avgusta 2022 goda = Tzargrade studies : meeting the 24th International Congress of Byzantine Studies, Venice and Padua, 22-27 August 2022 |
| title_full | Carʹgradskij sbornik k XXIV Meždunarodnomu kongressu vizantinistov, Venecija, Paduja, 22-27 avgusta 2022 goda = Tzargrade studies : meeting the 24th International Congress of Byzantine Studies, Venice and Padua, 22-27 August 2022 Gosudarstvennyj Ėrmitaž ; naučnye redaktory: V.N. Zalesskaja, Ju. A. Pjatnickij |
| title_fullStr | Carʹgradskij sbornik k XXIV Meždunarodnomu kongressu vizantinistov, Venecija, Paduja, 22-27 avgusta 2022 goda = Tzargrade studies : meeting the 24th International Congress of Byzantine Studies, Venice and Padua, 22-27 August 2022 Gosudarstvennyj Ėrmitaž ; naučnye redaktory: V.N. Zalesskaja, Ju. A. Pjatnickij |
| title_full_unstemmed | Carʹgradskij sbornik k XXIV Meždunarodnomu kongressu vizantinistov, Venecija, Paduja, 22-27 avgusta 2022 goda = Tzargrade studies : meeting the 24th International Congress of Byzantine Studies, Venice and Padua, 22-27 August 2022 Gosudarstvennyj Ėrmitaž ; naučnye redaktory: V.N. Zalesskaja, Ju. A. Pjatnickij |
| title_short | Carʹgradskij sbornik |
| title_sort | carʹgradskij sbornik k xxiv mezdunarodnomu kongressu vizantinistov venecija paduja 22 27 avgusta 2022 goda tzargrade studies meeting the 24th international congress of byzantine studies venice and padua 22 27 august 2022 |
| title_sub | k XXIV Meždunarodnomu kongressu vizantinistov, Venecija, Paduja, 22-27 avgusta 2022 goda = Tzargrade studies : meeting the 24th International Congress of Byzantine Studies, Venice and Padua, 22-27 August 2022 |
| topic | Kulturkontakt (DE-588)4033569-0 gnd Kulturaustausch (DE-588)4165964-8 gnd Kunst (DE-588)4114333-4 gnd |
| topic_facet | Kulturkontakt Kulturaustausch Kunst Byzantinisches Reich Konferenzschrift 2022 Venedig Padua |
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