Divine Service Research Articles

Православное воспитание в детских организациях эмиграции «первой волны» 1920 – 1930-е гг.

In Europe, in the second half of the XIX century, the first children's and youth movements were created. Their goal was the physical and moral development of young people. Moral values were instilled through Christian education. The Russian Empire was no exception, and since 1909, the scout and "potesnnie" movements began their activities in it, paying much attention to the Orthodox upbringing of their wards. In emigration, religious education became even more important. In the conditions of a foreign environment, the threat of assimilation and acculturation of Russian children increased. It was planned to resist this with a great emphasis on the study of national culture, including its religious component. Since it was not possible to cover all children in Russian schools in the scattering, more flexible children's and youth organizations became more important. In those colonies where churches existed, they participated in divine services, helped in holding Christian holidays, invited priests to classes and camps. In the richest and most numerous diasporas, such as the Parisian one, field churches in summer camps have become popular. In addition, classes on the Law of God were held in children's associations and exams were passed on knowledge of the basics of Orthodox culture, which made it possible to reach children living in remote regions. There were several main organizations that worked with children: scouts (NORS, ORYUR, NORR, ORPR), the gymnastics movement "Sokol", the national organization "Vityazi" under the Russian Student Christian Movement. All of them paid a lot of attention to religious education, although the "vityazi" were the most active in this regard. A certain indicator of the success of such work can be the fact that many children who passed through such associations later became priests and bishops.

Гимнография Спасу Нерукотворному в древнерусских богослужебных рукописях студийского периода

The article considers the ordinance for August 16 in honor of the waftage of the Holy Mandylion of Edessa to Constantinople. An archeographical overview of the worship texts was compiled, drawing upon manuscripts dating from the dominance of the Studite Typikon: Old Russian Book of Sticheron from the XII to XIV centuries and Middle Bulgarian unnotated Menaia from the second half of the XIII to the beginning of the XIV century. The study engaged eleven manuscript sources from the Studite period, nine of which were notated with znamenny chant notation and two were unnotated. The fixed composition of the service and the repertoire of hymnographic texts are analyzed. With the help of source analysis, the changes in the composition of the ordinance were revealed. The paper examines and formulates the main trends of the fixed compositions of worship. Conclusions are drawn regarding the degree of veneration of the Mandylion relic: during the Studite period, the service to the Holy Sudaruim is not characterized by a high liturgical status and is typically combined with the afterfeast period of the Assumption of the Virgin or order of divine service in honor of the Martyr Diomedes or the venerable Joachim of Sarandapor. The stability of the service composition in manuscripts from the Studite era is identified. Emphasis is placed on the stability of the musical interpretation of the poetic texts of the ordinance.

Newcomers Learning Religious Ritual

In this article, we explore the learning of newcomers in a religious community through a micro-sociological approach, making use of Jean Lave and Etienne Wenger’s (1991) notion of “legitimate peripheral participation” to conceptualize initial stages of inclusion and involvement in social practice. Our case study concerns Orthodox Christianity and is based on material gathered through fieldwork in a course targeting potential new members organized by a Finnish Orthodox parish. In the analysis, we inquire into how beginners learn skilful participation in Orthodox liturgical life, and specifically embodied ritual conduct. This learning takes place primarily through participation in real-life divine services. The article highlights challenges faced by beginners in acquiring the embodied repertoire of Orthodox ritual, including adapting to the artistic use of ritual gestures, and negotiating the meanings produced through them. Furthermore, it also illustrates how nuanced dynamics between newcomers and old-timers influence the learning process.

Попытка устроения пещерного монастыря в слободе Калач Воронежской губернии в конце XIX — начале XX в.

Kalach caves dug out in a chalk relic in the town of Kalach, Voronezh region, is an underinvestigated historical and cultural heritage site. The archive materials found in the funds of RSHA, together with evidence of local people, provide insight into the final period of the cult dungeon functioning in the late XIX – early XX centuries. At that time the rural community of Kalach made an attempt to establish there an official orthodox cave monastery. On the 11th of August, 1885, residents of Kalach authorized peasants Ivan Serjakov, Matvey Bezugly and Gavriil Lebedinsky to solicit different authorities for a monastery foundation. The community also allocated 1300 roubles and 36 dessiatines of land area for the monastery arrangement. The rural community request was examined in Voronezh Ecclesiastical Consistory, Voronezh Provincial Government, Voronezh Provincial Peasant Council and in the Second (Peasant) Senate Department. The attempt was not successful, it encountered resistance of authorities. Meanwhile the cave diggers managed to accommodate the caves and arrange regular divine service by the local secular clergy. Functioning of the caves as a sacred locus for the rural community was interrupted by revolution events of early XX century. At present Kalach caves are put on Russian cultural heritage register.

Институциональные основы формирования уголовно-правовых запретов о нарушении права на свободу совести и вероисповеданий

The article is devoted to topical issues of criminal law protection of the right to freedom of conscience and religion in the form of public actions aimed at insulting the religious feelings of believers or obstructing the activities of religious organizations, the implementation of divine services or other religious rites. The author’s interpretation of the institutional foundations of the formation of prohibitions on the violation of the right to freedom of conscience and religion is presented.

ИНСТИТУТ БАБЧЕСТВА В ОДНОМ КОСТРОМСКОМ АРЕАЛЕ: ПРОБЛЕМА ГЕНЕЗА И СОВРЕМЕННОЕ СОСТОЯНИЕ

The article focuses on the socio-cultural situation in the south of the Makaryevsky district of the Kostroma region, within the modern settlements Bolshoe Yurovo, Yurovo, Bolshye and Malye Rymy. A number of important social functions in the local community during the Soviet period (and some by today) were performed by older women — they are commonly called babushki/ molel’nye babushki. They were midwives, healers, participated in religious rituals (performed divine services in prayer houses, funeral services, baptized children), in a number of calendar and non-calendar rituals (in the spring hailing of the newlyweds, in rounds of the village to protect it from fires, etc.), and also had the authority to punish members of the community for violations. The work is based on field material collected in the named area by the Ural University Toponymic Expedition in the summer of 2023. The authors’ purpose is to describe this phenomenon, for which they propose the term babchestvo, in the form it was found by today’s local residents of the older generation, to name the possible prerequisites for its formation and the factors that supported its development. Tracing the history of the region, the authors propose a hypothesis about the possible influence of the Old Believers’ past on the functioning of the institution of babchestvo in these localities.

Stundists from Chisinau: Unknown Pages of History

On the basis of documents from various archives of the Republic of Moldova, Ukraine, the Russian Federation, the press (documents) of the time, the author of the study examined the issue of the activity of Stundists in Chisinau. The first people who shared the evangelical faith were identified (Nikita Şarohovici, Ivan Solovei and others), cases of the spread of the Bible were exposed, Iosif Rabinovici’s activity at the “New Israel” house of prayer was briefly presented. The study demonstrated that not only Jews came to the divine services of the new Jewish community, but all those who wanted to hear and know the Word of God. The author of the article demonstrates the policy of the authorities towards the Stundists: they were monitored, convinced to renounce their faith and finally – exiled to peripheral regions of the Tsarist Empire.

Formation of Basson Classes at the Paris Conservatory

The object of the study was the origins and initial period of the formation of bassoon classes at the Paris Conservatory. The author analyzed the early stages of the training process involved in the French bassoon school. The role of maîtrise and military bands in the instruction of bassoon performers before the beginning of the revolutionary events in 1789 was revealed. The study exposed the influence of the church music-educational system on the professionalization of secular instrumental and vocal performance, as well as its importance in the creative development of prominent French bassoonists who were formed in the second half of the 18th and early 19th centuries. The author investigated the essence of the ideological and political factors of the French Revolution in the creation of a new democratic system that began to exist in professional musical education, which guaranteed its accessibility to the general population and free education on a competitive basis. The article provides a chronology of the beginning and development of bassoon classes on the path of professionalization of performance on wind instruments at the National Guard Music School, the National Institute of Music and the Paris Conservatory. The peculiarities of the implementation of the competitive system of professional training of instrumentalists, as well as the formation of didactic materials to ensure the educational process at the Paris Conservatory became the basis for further artistic education. This fact was carefully analyzed and became the basis for the conclusions of the article. The innovative guide of E. Ozi "School of Playing the Bassoon", was regarded as one of the first complete instructional materials for the bassoon. It was officially approved as a study guide for mastering the instrument, became a powerful impetus for the development of the conservatory students’ performance skills. The author emphasized and defined the role of E. Ozi in the creation of bassoon classes at the Paris Conservatory, as well as in the founding of the French performing school. It has been proven that an important factor in the development of French bassoon performance in the second half of the 18th century was the inclusion of the bassoon in the training programs of metris and its use in church ensembles to accompany choral singing during divine services

On Song Dictation and Their Texts in the Village of Shalanky (Transcarpathia)

The present paper examines a novel aspect of folk literacy within the ethnographical research, in particular to a separate genre of oral folk art, which is an organic component of modern Ukrainian and Hungarian cultures. The focus of the study is written sources from the village of Shalanky (Berehove District, Transcarpathia), as well as from some other areas of the former Hungarian historical region of Ugocsa. The collection entitled The Book for Funeral Ceremonies (Halottas alkalmakra készített és írott könyv) is presented in four copies, each containing songs for a funeral ceremony. The main occasions for recitative singing are, on the one hand, church events, divine services, and, on the other, funerals and commemorations. For the latter, there were prepared, in the Reformed communities, separate handwritten songbooks titled The Book-Collection of Funeral Songs, or The Book, Prepared and Written to Honour the dead. Currently, more than ten manuscripts have been collected in the studied region. Information about their use and purpose, the role in the life of a community can be obtained from narrations of informants. The oldest collection was compiled in the 1880s. The books contain only the texts that provide a decent burial of the dead. For burial, a cantor (singer) selects suitable songs by age, sex, ecclesiastical order of the deceased, etc. Most manuscripts have a similar structure; we can also find much in common in the subjects of song texts. In general, as already noted, the content of each manuscript is divided into ten sections, the songs are mainly grouped by age. Until recently, in the communities surveyed, there was a custom of so-called song dictation (recitative). Community members have different views on its decline. The older generation prefers recitative, while young people prefer rhythmic singing and new songs. However, the fact is that the song dictation was a characteristic sign of both the Reformed divine services and the Hungarian identity. It also had a moral content in relations between members of a community. Our duty is to show and preserve this custom!

HOLY INTERCESSION CATHEDRAL, OKHTYRKA: BETWEEN THE PAST AND THE FUTURE

The article attempts to investigate the history of the construction of the Intercession Cathedral in the city of Okhtyrka, Sumy region, which was built in 1753–1768 during the Ukrainian Baroque era. Studying new documents from various archival funds helped reveal changes in the plans of this sacred building aimed at observing the Ukrainian tradition of a three-story church. It is shown that the artistic decoration of the cathedral continued in the 19th century, and the masters of carving, sculpting, wall painting, etc., performed their work without the participation of the architect, which did not interfere with the integrity of the artistic decision. It is confirmed by archival photo documents of the general appearance and interior design of the temple, which are introduced to the scientific circulation for the first time. Some names of the masters who worked on the artistic design of the cathedral in different periods of its history before the Soviet era have been identified and introduced into scientific circulation. Emphasis is placed on the unique regional stylistic features of this Sloboda Ukraine landmark of the Ukrainian Baroque era. An analysis of its condition during Soviet times, when it was used as a wine-vodka warehouse, is accompanied by corresponding photos, which are presented for the first time. In the description of the current state of the Cathedral, already used for divine services, for the first time a number of photos are given, fixing the results of the reconstruction. The need to create a unified state management system for the protection of cultural monuments is emphasized, which is especially relevant under modern conditions, when the aggressor country of the Russian Federation, having attacked Ukraine, mercilessly destroys the objects of our cultural heritage. It is emphasized that due to the lack of state support, local communities, which are trying to restore a sacred building abandoned during the Soviet era, are unable to create a comprehensive program of reconstruction or restoration, and therefore resort to stylization according to a certain historical era, losing their relevance to the individual uniqueness of the artistic image of the lost monument, as can be seen on the example of the reconstruction of the Holy Intercession Cathedral, Okhtyrka. The results of the study have the prospect of continuation and can be used in the future to match the lost identical image of this important sacred monument for Ukrainian culture.

Spiritual Aspect of Early Music on The Example of Organ Compositions

The author of the article examines the stereotypical perception of the organ as a church instrument, that is connected with the facts of the construction of the first wind organs after the destruction of the hydrolos precisely in monasteries, as well as it is due to the existence of a large number of musicians-organists who still participate in divine services today. The study, based on the Ukrainian specialized scientific literature, analyzed the problems of the connection of early music with the work of romantic composers. The author notes that there is a need to study baroque symbolism to deepen the understanding of J.S. Bach's music, which is an integral part of the performance training of organists and pianists. The historical roots of early music were discovered as a result of a review of certain sources. It has been proven that music has always been close to the exact sciences - for example, during the early Middle Ages, the "seven liberal arts" that were compulsory to study in schools included the "trivius" (grammar, rhetoric and dialectic) and the "quadrivius" (arithmetic, geometry, astronomy and music). The author investigated the gradual transformation of organists from strict "servants of the cult" into concert musicians of the Baroque era. It is noted that the considered period was characterized by the perception of music as a language in which almost everything "speaks": musical form, texture, size, duration of notes, rhythmic pattern, voicing, tempo, tessitura used in the work, etc. The ways of interaction of the organist with the author's text during the study of motivic and numerical symbolism were outlined. Basics were defined for deciphering the J. S. Bach’s work. Classicism is characterized, during its heyday, Bach's compositions were heard mainly in the church. The devaluation of the instrumental works of ancient composers (in particular, J.S. Bach) in the period of romanticism and the transition of the organ to a virtuoso concert instrument are described, using the examples of the techniques of playing the organ by F. Liszt and M. Reger, etc. Late Romanticism is presented as a movement in which the attitude of musicians to the heritage of ancient composers was revised thanks to the German movement "back to Zilbermann" (led by A. Schweitzer). The study gives a description of the specifics that are possible to apply for studying the design of J.S. Bach's work. The urgent need to examine the ancient music as a source of spirituality in the work of modern organ composers is emphasized.

BULGARIAN MUSICAL ART AS A SYNTHESIS OF FOREIGN-NATION CULTURAL CONTRIBUTIONS

This article studies the effect of achievements of proto-Bulgarian, Thracian, Ancient Greek and Byzantine cultures on formation of the Bulgarian nation. The main scientific concepts concerning the origins of Bulgarians, etymology of name, and matters concerning linguistic and ethnic affiliation have been analyzed. The most important historical events that bore upon formation of the Bulgarian nation have been reviewed; in particular, attention was focused upon development of religious views of Bulgarians starting from the archaic eras. Materials concerning the influence which achievements of proto-Bulgarians had on Bulgarian music and culture in general have been studied. An analysis of historical materials concerning the life of Turkish and Irano-Indian peoples, archeological cultural discoveries and accounts of various historians suggest the conclusion that archaic layers of Bulgarian folklore have relation to Irano- Indian, Turkish and Irano-Semite origins of monodic melodic culture, which were in organic contact with proto-Christian and early Christian artistic layers, thus facilitating flexible contacts with other Southern European cultural phenomena. This relation manifests itself in common features of Turkish and Bulgarian rhythms, the structure of folk music modes and the use of a quartertone system in music of these countries. One subsection systemizes historical information regarding Thracians, and offers an overview of the works of historians and scholars studying origins of the Thracian language that influenced morphological and syntactical linguistic system of Bulgarians, and religious legacy. A conclusion was drawn that Bulgaria preserved the orphic cult of Ancient Thrace no less than Greece and Byzantium did, where vocal basis of music defined exceptional originality of rhythmic structures, in particular, in instrumentalism. Accounts of Greek historians concerning secular and folk music of Thrace, rites, pantomimic scenes, etc. have been analyzed as well. The discovered sources allow to assume that practicing musicians of Ancient Thrace were prohibited from not only writing about music but even talking about it, although the myths, religious beliefs and ritual practices indicate the authoritativeness of Thracians in this particular area. Bulgaria’s inheritance of Ancient Greece’s cultural legacy, including via Byzantine Orthodoxy of the 4 th to 6 th and 9 th to 11 th centuries, as proved by numerous examples of architecture, painting art and music (and especially its rhythmical side) has been analyzed. Based on theoretical works by V. Kholopova, D. Hristov, V. Stoin and A. Stoyanov, particularities of Bulgarian “irregular rhythmics” (which have, first of all, antique metrics at its core) and the problems of their fixing have been described. Attention was also given to the hereditary features existing between Bulgaria and Byzantium, especially in religious Christian culture. The commonness manifests itself not only in the structure of Divine Service and the octoechos system but also in the monody of drone (ison) singing that remains contemporaneous in Bulgaria, in dissemination of the tradition of bass singing of psalms, in melisma which was not just an “adornment” but has retained the original rhetoric in the function of sacral mode of singing, and in the importance of ritual theatrical forms.

Перенесение святынь в домонгольской Руси: календарная грань церемоний

The Church calendar in Old Rus' did not only determine the course of divine services, but also actively influenced the planning of the most important events by princes and bishops, both ecclesiastical and secular. The timing of the ceremonies (that framed such events) to significant festive milestones of liturgical cycles, besides the utilitarian and symbolic meanings, carried an important spiritual content. As the organizers see it, calendar timing was a means of special turning to God and the saints. A clear dependence on the calendar is demonstrated, in particular, by the chronological component of the celebrations dedicated to the transfer of shrines. The article clarifies and analyzes all the exact (daily) dates of such events of the 11th – the first third of the 13th centuries preserved in the sources. In total, ten such dates have come down to us: four of them relate to the relocation of the relics of sts. Boris and Gleb, the remaining six – of other Russian and imported relics. The author of the article comes to the conclusion that the organizers of the celebrations used several calendar strategies, and usually layered them on top of each other, striving to achieve what can be called “multiplication of festivity”. In most cases, the transfer of shrines turned out to be correlated with Sundays and at the same time coordinated with the rhythms of the Menologion and the Triodion: the “liturgical fields” of Easter and great feasts and (or) calendar milestones associated directly with the honored saint. The obtained results complement the scientific understanding of the temporal culture and eorthological creativity of the Old Rus' elite.

Christian images in chamber vocal music of Western Europe of the 19–20th centuries

Statement of the problem. The development and popularization of vocal genres in performance practice of the 19th century was accompanied by a tendency to move liturgical singing to concert halls. Its consequence was the appearance of a new genre variety – “sacred song”. This is a chamber composition for the voice and piano with a brightly pronounced sacred meaning of the poetic base (sometimes borrowing texts from the Bible). Despite the fact, that vocal music was dominated by secular themes at that time (sometimes even demonic, as evidenced by the popularity of the image of Mephistopheles), religious spirituality remained in a place of honour and had an important mission. Carl Dalhaus explained the departure of the Church from the “mainstream” of musical history in the 19th century as follows: “...the sociopsychological roots of the ideal of church music as an escape from the world can be seen in the bourgeois tendency to separate these two spheres and drive religion into the ghetto, thus protecting it from ‘reality’ and, at the same time, not allowing it to interfere with this reality” (Dalhaus, 1989: 179). Thus, the tendency to hide religion from life into a “reserve” had a significant impact on the sacred music of the 19th century. However, composers who appealed to divine meanings in their compositions acted contrary to this tendency. The essence of romanticism required a personal experience of religious feelings passed through the “crucibles” of one’s own experience, and this is what endowed spiritual genres with a missionary role in the art of the society of that time. Objectives, methods, and novelty of the research. Elucidation of Christian meanings in the chamber vocal genre is a new and understudied musicological problem. Although the works of L. Beethoven, F. Schubert, A. Dvořák, J. Brahms, and R. Vaughan-Williams considered in the article are well-known and in the repertoire, scientific works very rarely focus specifically on the Christian content of these songs and vocal cycles. The purpose of the research is to trace Christian meanings in the chamber vocal work of prominent Western European composers of the 19th–20th centuries. The application of the historiographical method highlights the retrospective of development of the chamber-vocal music of Western Europe of the 19th–20th centuries; the genrestylistic method allows to reveal the characteristic features of the composer’s interpretation of religious images; the textological one reveals the linguistic features of the selected samples; the performance analysis defines the specific creative tasks facing the singer. Research results and conclusion. The practical result of the research should be an increase in the level of awareness of the performers regarding the substantive and stylistic components of the composer’s idea in order to create an interpretation adequate to it. Based on the analysis of selected chamber and vocal works with Christian themes, their typology is proposed, which depends mainly on the text used. The first type is songs based on Biblical texts (psalms or direct quotations of fragments of the Old and New Testaments), which imitate the style of church chants (F. Schubert’s “Evangelium Johannis”, A. Dvořák’s 10 “Biblical Songs”, J. Brahms’s “Four Serious Songs”). The second type is the lyrics of the hymn on verses glorifying God, which can be used at divine services. Songs of this type quite often contain quotations from church music (L. Beethoven’s “Bitten”, “Die Liebe des Nächsten”, “Vom Tode”, “Die Ehre aus der Natur” and “Gottes Macht und Vorsehung”, F. Schubert’s “Das grosse Halleluja”, R. Vaughan-Williams’s “Easter”, “The call” and “Antiphone”). The third type includes chamber-vocal works on lyrical texts of an intimate, reflective nature, where confession, human communication with God, and philosophical questions are present (L. Beethoven’s “Buβlied”, F. Schubert’s “Im Abendrot”, R. Vaughan-Williams’s “I Got Me Flowers” and “Love Bade Me Welcome”). The development of a typology of chamber-vocal works of Christian themes seems necessary to facilitate the creative work of vocalists-interpreters, which should meet the modern level of requirements for the general culture of musical performance.

Chabad discourse on rationales for the commandments: Derekh mitsvotekha

Works detailing rationales for the commandments stand at the junction between speculative thought and daily life, interweaving nomos and Kabbalistic-Hasidic narrative. Menachem Mendel Schneersohn, the third Chabad rebbe, penned exactly such a text: Derekh mitsvotekha . This article provides a bibliographical-historical sketch of the work. It examines how its author crafted his unique position towards rationalizations of the commandments, strengthening their practical performance, and argues that Schneersohn expressed two vital stances towards divine service, both of which enhance commitment to divine law. I argue that Schneersohn sought to remould and reconstruct the Hasidic discourses of the first rebbe to provide Hasidic followers with inspirational-spiritual nourishment connected to the core of Jewish life and practices. Thus, eventually the Chabad literature came to include a whole library, adapting Kabbalistic traditions to provide followers with a comprehensive accessible theological framework and inspirational advice for enhancing all realms of their religious life.

Проблемы реконструкции музыки XVIII века (на примере песнопения "Ангел вопияше")

The article deals with an unknown manuscript of the late 18th century found in the archives of the Dmitrov Kremlin. Notes previously belonged to the Apraksin family and were kept in the library of the Olgovo estate. Stepan Stepanovich Apraksin was a well-known music lover, in Olgov there was a serf theater, an orchestra, and a choir. The singers sang at divine services in the Church of the Introduction of the Virgin in the village adjacent to the estate. The manuscript contains two hymns — "Dostojno est’" and "Angel vopijashe". The manuscript contains an indication of the authorship of Bortnyansky. The question is being considered whether this authorship can be attributed to both chants, or only to “Dostojno est’”. The music of the choir "Angel vopijashe" is analyzed.The chant "Angel vopijashe" most likely belongs to early classicism, it can be dated to the 1780s. It was not written by the most skillful author, who composed it on the model of Bortnyansky's chants.

Liturgical Items in the Churches of the Pyriatyn Protopopy in the Second Half of the 18th Century

The article, based on descriptions of church property, analyzes the state of provision of liturgical items in the parish churches of the Pyriatyn Protopopy (Archdiocese) as an ecclesiastical-administrative district of the Kyiv Metropolitanate. During the second half of the 18th century, there were 87 churches in 81 settlements under the rule of the Archpriest of Pyriatyn. The research found 19 names of things for worship described as church property of the churches of the Pyriatyn Archdiocese. We divide them into three categories. The first includes the clothes in which the priest was dressed during the liturgy, the second unites items made of fabrics that were used during divine services or liturgies, the third concerns objects made of wood or metal, which were used by parish priests.

Ukrainian baroque iconostasis and liturgical structuring of the monastery space

Baroque iconostases of Ukraine with thematic iconographies have repeatedly come to the attention of researchers. This refers to iconostases that did not contain the composition Deesis and other images necessary for the year-round cycle of divine services. Instead of the traditional complex of icons, such iconostases contained images that fully covered the theme of the consecration of the altar. The preserved monuments are described in sufficient detail, but the motives and meanings of implementing such programmes have not yet been convincingly explained. The study offers a new look at the reasons for the appearance and symbolic meaning of thematic iconographic programmes of Ukrainian iconostases of the Baroque era. The meaning of introducing edited iconographic programmes is reconstructed using the hierotopic method. Its application identified that the development of thematic iconographies was based on a spatial iconographic concept in which the programmes of several iconostases interacted. The study showed that thematic iconographies were common in the iconostases of side chapels, while the main iconostasis contained all the necessary complex of images, including the Deesis composition. It is established that the introduction of thematic iconography for the main iconostasis was possible only for the monastery church, which in this case was understood as a chapel relative to the central iconostasis of the cathedral church of the monastery. In this carefully designed image system, the icon complexes of the iconostases of side altars and other monastic churches interacted with the iconographic programme of the iconostasis of the main altar in real space. The implementation of such a project expanded the liturgical space of the main church, covering the monastery complex. Therewith, symbolic meanings associated with the image of the temple in the Christian tradition were transferred to the monastery. The proposed reconstruction explains the lack of practice of creating thematic iconographies for the iconostases of the main altars in parish churches

El poblado de los terapeutas del lago Mareotis como locus amoenus sacro y filosófico

Philo of Alexandria's treatise De vita contemplativa describes the existence and lifestyle of an ascetic group of Jewish men and women called therapeutai and therapeutrides.Themembers of the group live a communal but secluded life in an idyllic landscape on the outskirts of Alexandria, near Lake Mareotis. They have settled in this place to escape from the environment of confusion and conflict of the urban world, trying to find the wisdom that provides a quiet life, dedicated to philosophy and divine service. At the same time, they also found here a peaceful existence away from the anti-Semitic harassment suffered in the metropolis, which would culminate in the general persecution of the year 38 AD. in Alexandria. In this article we intend to know this place and its characteristics as a locus amoenus, namely, as the right place for the development of an ascetic and philosophical way of life.

Бессвященная власть в старообрядческой поморской общине Челябинска

The anti-religious policy of the Soviet period caused the loss of the historical continuity of the Chelyabinsk Old Believers of the past and present. In this regard, studies of the history of the Old Believer community are of great importance in the process of building historical continuity. The underground existence of the Old Believers left its mark on the source base, as a result of which a representative corpus of sources was not formed at the local level. The historiography of the issue is represented by a small number of publications and indicates the fragmentation of the study of the history of the Chelyabinsk Old Believers. The solution to this problem is possible if new historical sources are introduced into scientific circulation. Based on the manuscripts of the Archaeographic Research Laboratory of the Ural Federal University, the article examines the phenomenon of power among the Chelyabinsk Bespopovtsy of Pomor consent. The author analyzes the powers of participation in the divine service of tutors and Pomor mentors presented in the works of the Chelyabinsk Pomor Old Believers of the second half of the 20th century. Through the analysis of doctrinal and conciliar documents and the writings of the Old Believers, the stages of the evolution of profane power among the Pomorian Old Believers of Chelyabinsk are formulated. As a result of the study, such stages of the transformation of non-consecrated power were formulated as (1) the period of lay mentors, (2) the period of power of the tutors, and (3) the period of women’s mentoring. The current state of the Chelyabinsk Pomor community is characterized by the return of the authoritative institution of lay mentors. Therefore, the study of this issue is not only of scientific relevance but will also be of importance in the context of the modern revival of the church life of the Old Believers of Chelyabinsk.