Holy Saviour Research Articles

«Нашу семью называли в городе “благословенной семьей”…» (к биографии Александра Николаевича Пыпина)

The work deals with the questions of the biography of the outstanding Russian scientist-humanitarian, academician of the Imperial Academy of Sciences A. N. Pypin (1833–1904). The purpose of the study is to identify and summarize materials about the Saratov period of the scientist’s life, to present the history of his family, to reveal the role of his father and mother in intellectual and spiritual development. The study of a wide range of memoirs, documentary and epistolary sources resulted in establishing that the history of the noble family of the Pypins dates back to 1791. The ancestors on the father’s side, N. D. Pypin, were clerical workers, on the side of the mother A.E. Golubeva they were priests. It is shown that A. N. Pypin was brought up in a religious family, with high moral ideals, in the atmosphere of love and care. The role of parents in the formation of his humanitarian interests is significant. It is noted that the love of books and reading that distinguished Alexander Nikolaevich from an early age came from his family, from his mother, and was a natural necessity for all younger family members. Parents formed a picture of the world of their son by various means. If the mother did so through literature, primary educational knowledge, then the father formed it by means of contact with real life. He introduced his son to the world of peasant life, of serfdom. According to the scientist, N. D. and A. E. Pypins had a significant impact on the formation of his personality, influenced the choice of life priorities. The paper publishes for the first time the primary source about the birth of A. N. Pypin, the record in the metrical book of Saratov Church of the Holy Saviour, the formulary lists of his great-grandfather, grandfather and father.

The Early Manuscripts of San Salvatore de Lingua in Messina (Mid-12th Century): Surveying the Chief Decorator

The monastery of Holy Savior has been the subject of much scholarship, but the liturgical reform requested by King Roger II of Sicily and carried out by the first archimandrite, Luke of Rossano, and the latter’s struggle to establish seemly equipment, has been largely neglected. Given its potential relevance for the material setting of the monastery’s early manuscript collection through the middle of the twelfth century, this seems an oversight. Art historians have repeatedly claimed that the monastery’s lofty status could have enabled the spread of Byzantine models to Norman Sicily, especially in relation to figurative arts and manuscript decoration. This paper discusses the same assumption from the opposite perspective. It explores the main tendencies of manuscript decoration at San Salvatore based on the extant evidence from the monastery’s early collection. Building on the paleographical and codicological observations provided in the past decades (mostly by philologists), I examine the manuscripts in terms of decorative practice and artistic culture.

Myth and Religion in Goran Petrović’s Novel “The Siege of the Church of the Holy Savior”

The article reveals the interrelationship between myth and religion, fantastics and reality in Goran Petrović’s novel “The Siege of the Church of the Holy Savior”. The provisions on the belonging of thenovel to postmodernism, on the parallels of the “Siege of the Church of the Holy Savior” with the work of the famous Serbian postmodernist writer Milorad Pavić are considered. The presence of elements of postmodernist poetics in Petrović is noted, the possibilities of combination postmodernism and myth, postmodernism and Christianity are explored.

OPPORTUNITIES FOR DEVELOPMENT OF RELIGIOUS TOURISM AT HOLY SAVIOR - KRUSHEVO MONASTERY IN THE REPUBLIC OF NORTH MACEDONIA

The Church "Ascension of Christ", also called “Holy Savior”, is a Macedonian Orthodox church located 2 km (a straight line of distance) southeast of the centre of the town of Krushevo, Macedonia. The Christian temple was built in 1826. This church is located at an altitude of 600 meters. It is one of the biggest tourist attractions of the city of Krushevo. In the courtyard of the monastery, next to the church itself, there is an old inn with blue doors and windows, which are also characteristic of the Krushevo houses of that period. The guest house also has a high loggia from where you can enjoy the beautiful view of the largest valley in Macedonia - Pelagonia, and from the other side, you can see the beautiful beech forest that changes colours depending on the seasons. The guesthouse of the monastery has a large number of rooms, where guests have the opportunity to spend the night. More recently, another new guesthouse has been built on the other side of the church, which is of great importance to preserve this piece of historical heritage, so that more people can have the opportunity to come, spend the night and feel the graces of this place.

ՋՈՒՂԱՅԻ ՏԱՐԱԶԸ (18-20-րդ դդ.) / FOLK COSTUME OF JULFA (18th-20th cc.)

The article represents the description of the folk costume of New Julfa, the preconditions for its formation. A brief historical overview shows the destruction of Old Julfa and the history of the creation and construction of New Julfa. The article categorizes the men's and women's clothing collections of New Julfa with a sequential and detailed description. The basic idea for the complete reproduction and presentation of the complete appearance of the costumes, in addition to the literature and various articles, was formed due to the researches carried out in the History Museum of Armenia, the fund samples of the Holy Savior Monastery in Isfahan, as well as information received from immigrants who came to Armenia. During the study, there were encountered identities of clothes, details or wearing similarities with clothes from other regions of Armenia, which are the result of their historical formation process.

Բաթումի հայկական Սուրբ Փրկիչ կաթոլիկ եկեղեցին /ARMENIAN CATHOLIC CHURCH OF THE HOLY SAVIOUR IN BATUMI

The Armenian Catholic Church of the Holy Saviour Batumi (the city also boasts an Armenian Apostolic Church of the Holy Saviour) is located at 35 Gamsakhurdia Street. It was built in 1886, and the consecration ceremony took place on December 25, on the birthday of Christ the Saviour, according to the Catholic tradition. The church was consecrated by Bishop Johan, the leader of the Armenian Catholics in Ardvin. In 1911 there was also an Armenian Catholic school in the churchyard, while for the Georgian Catholics in the town there was a separate church built at the expense of Stepan Zubalov in 1902. Aslan Abashidze, the ex-head of Adjaria, handed over the Church of the Holy Saviour to the Georgian Orthodox Church. In 2019 its reconstruction began, for which 700 thousand lari were allocated. The Patriarchate of Georgia declared the church to be Orthodox and under its jurisdiction.

Երուսաղեմի Հայոց Սուրբ Փրկիչ վանքը և իր վիմական ժառանգությունը / THE ARMENIAN MONASTERY OF HOLY SAVIOUR IN JERUSALEM AND ITS EPIGRAPHIC HERITAGE

The Armenian Monastery of Holy Saviour is one of the unique Armenian holy places in Jerusalem, whereas the date of the construction is still unknown. It was likely built in the fourth century under the patronage of Queen St. Helena. The monastery is located at the site, where the house of High Priest Caiaphas was formerly located. The religious belief states that one of the Hebrew high priests ordered soldiers to whip and defame Christ there right after the betrayal. (Math. 26: 3-4, 57, 67). The century of the historical appropriation of the monastery by the Armenians is undisclosed. However, Armenian historical sources of Jerusalem mention that the Armenian congregation used to live in the monastery in the 12th-13th centuries. They built a scriptorium and produced many Armenian manuscripts. The first lapidary inscriptions of the monastery have come down to us since the 14th century. The number of the inscriptions has grown in further years since the Armenian pilgrims, donors, and sponsors, who visited the Holy Land or lived there, used to commission many memorial inscriptions and locate them on the khachkars in the cemeteries or pierce them in the walls of the sepulchres they built or renovated. The Jerusalem Armenian cemetery still survives near the monastery. This is the reason that most of the inscriptions are epitaphs. Our paper will present only a few of them.

In the service of God, the Church and Ukraine. History of the monastery of the Tsar Christ the Basilian Fathers in Ivano-Frankivsk

The article analyses the history of the monastery of the King of Christ of the Province of the Basilian Fathers of the Most Holy Saviour in Ukraine of the Ukrainian Greek Catholic Church in Ivano-Frankivsk city (formerly Stanislaviv city). А brief overview monasteries within the territory of Galicia, the foundation of the Basilian Order of Saint Josaphat in 1617, the Dobromyl Reform of the Order are briefly reflected. The activities of the Basilians in Stanislaviv city after the Dobromyl Reform, the foundation of the Basilian residence in the city in 1935 and the pastoral activities of the Basilian Fathers before the closure of the monastery in 1946 are studied. The history of the monastery in the Soviet period 1946-1989, after the legalization of the UGCC in 1989 to the present day, is covered.

O BRATOVŠTINAMA U CRKVI SV. SPASA (SV. ANTUNA OPATA) U ZADRU

U radu se na temelju izvornika iz Državnoga arhiva u Zadru i izvješća apostolskih vizitatora za Dalmaciju u 16. i 17. stoljeću razmatra ulazak bratovštine kožara i bratovštine sv. Antuna opata u crkvu Sv. Spasa, odnosno sv. Antuna opata u Zadru. Analiza istraženih dokumenata pokazuje da je bratovština kožara prešla u crkvu Sv. Spasa ranije nego što je to iznio zadarski povjesničar Carlo Federico Bianchi, a sigurno je u njoj djelovala prije bratovštine sv. Antuna opata. Suprotno Bianchijevim tvrdnjama, u radu će se dokazati da je bratovština sv. Antuna opata ušla u crkvu Sv. Spasa nakon bratovštine kožara te da je crkva promijenila titul u crkvu sv. Antuna opata tek u 17. stoljeću. Konačno, međusobni odnos i prava dviju bratovština u crkvi sv. Antuna opata regulirao je zadarski nadbiskup i apostolski vizitator i reformator za Dalmaciju Oktavijan Garzadori.

Los mecanismos de la emblemática en Portugal: el camino al Cielo a través de los azulejos de la Igreja de São Salvador de Coimbra

En el segundo tercio del siglo XVIII la Igreja de São Salvador de Coimbra reviste sus naves y coro con un rico programa iconográfico pintado sobre azulejos y atribuido a Salvador de Sousa Carvalho. El conjunto se basa en las estampas ejecutadas por Gottfried Bernhard Göz y Joseph Sebastian Klauber para ilustrar la obra Vita, Doctrina, Passio Domini nostri Iesu Christi, escrita por el benedictino Coelestin Leuthner y publicada en Augsburgo en 1733, poniendo así de manifiesto la estrecha relación que el arte barroco portugués mantiene con el género de la emblemática. En este artículo analizamos la adaptación que el ciclo pictórico acomete de estos referentes impresos, evidenciando cómo la selección, reordenación y recombinación de las fuentes son mecanismos clave para la formulación de un discurso original que, en este caso, se destina a mostrar al devoto cuál es el camino que conduce al cielo.

Italian Inspiration for the Painting Decorations by Maciej Jan Meyer from the First Half of the Eighteenth Century in Szembek Chapel at the Cathedral in Frombork

The Bishop of Warmia, Krzysztof Andrzej Jan Szembek from Słupów (1680– 1740), erected a domed reliquary chapel devoted to the Most Holy Savior and St. Theodore the Martyr (Saint Theodore of Amasea) at the cathedral in Frombork, also known as Szembek Chapel. The entire interior of the chapel is covered with frescoes dating from around 1735 by Maciej Jan Meyer (Mat­thias Johann Meyer) from Lidzbark Warmiński. Educated in Italy, the artist made polychrome decorations in the style of illusionistic architectural paint­ing known as quadrature. In the lower part of the chapel stand busts of saints and the entire figure of St. Theodore of Amasea; in the cupola of the dome is the adoration of the Holy Trinity and the Holy Cross by the Mother of God and the Saints. Using the comparative method, I discuss the decoration of the chapel in the context of quadrature painting, which was developing in Italy and then in Central Europe, especially at the end of the 17th and the first half of the 18th centuries. Influential artists who played an important role for Pol­ish quadratura techniques were Andrea Pozzo (1642–1709) and painters who came from Italy or studied painting there, such as Maciej Jan Meyer. I also show the prototype for the decoration of the chapel’s dome, namely, the fres­coes from 1664–1665 by Pietro Berrettini da Cortona in the dome of Santa Maria in Valicella in Rome, as well as for medallions with busts of saints mod­eled on the structure of the main altar from 1699–1700 in the Church of the Holy Cross in Warsaw, funded by Meyer’s first patron, Bishop Teodor Potocki, primate of Poland.

Depicting a Prayer before the Battle: On the Reader’s Marginalia Drawing in the Old Rus’ Manuscript from the British Library

Abstract In the note, the author focuses on the additional drawing made by an unknown reader on the miniature of the Old Rus’ illuminated manuscript of the Tale of the Route of Mamai. The drawing depicts the image of the Mandylion over one of the key scenes of the Tale: Dmitry Donskoy receiving the blessing and prosphoron from St Sergius of Radonezh. The author examines both, the text, that is illustrated, which cites the monastic rite of Panagia, and the symbolism of the image of the Holy Saviour Not Made by Hands, to conclude whether the addition was accidental or not.

Monumental Painting in the Mrnjavčević State and Late Medieval Novgorod: Parallels in Program and Iconography

The present paper aims to examine iconographic and programmatic parallels between the pictorial ensembles of the churches from two distant regions — the Mrnjavčević State in the Balkans (1365‒1395) and Novgorod of the late 14th and 15th centuries. The first part of the paper focuses on the programs in domes of the most important endowments of the Mrnjavčević family members (St. Demetrios at Sušica near Skopje — Markov Manastir, St. Demetrios in Prilep, St. Andrew at River Treska) and six Novgorod churches of the second half of the 14th century (the Assumption in the Volotovo Field, the Saviour-Transfiguration in Iliina Street, St. Theodore Stratelates ‘on the Spring’, the Holy Saviour in Kovaliovo, the Nativity on the Red Field and Archangel Michael Church in Skovorodsky Monastery). The second part of the paper is concerned with the painted menologia at Markov Manastir (September through December) and in the church of St. Simeon the God-Receiver at the Zverin monastery (1467) (September through August). There are obvious differences between the two cycles in terms of their date, iconographic and textual sources, spatial layout, and the number of images included. It can be argued, nonetheless, that both cycles follow the same pictorial logic. They both belong to the same tradition of calendrical illustration in East Christian art, which is characterized by the reduction of the visual programme to only one type of image — the portrait of the commemorated saint.

Document on Buying Gethsemane Garden by Three Brothers from Bosnia in 1681 - Text and Context

This paper presents a document dating from 1681 (1092 Hijra year): the document confirms the sale and endowment of figs and olives seedlings as well as the other properties on the land of Madrasa al-Ṣalāḥiyya in Jerusalem, which was implemented by the means of the so-called al-ḥikr. The brothers from Sarajevo, Pavle, Jakov and Antun, purchased this particular property and bequeathed it to the Franciscan monks who lived in the monastery al-‘Amūd (Monastery of the Holy Saviour) in Jerusalem and to the poor Christians that required alms from the brothers. The curious issue in this case is the prevailing opinion of scholars that the space that is the subject of the sale in this document is the space of Gethsemane garden, one of the most important Christian holy sites.

The exhibition "The 100th anniversary of the church dedicated to the Most Holy Saviour in Zielona Góra 1917-2017 ".

The exhibition "The 100th anniversary of the church dedicated to the Most Holy Saviour in Zielona Góra 1917-2017 ".

Tourism in Pachacámac and their contributions to the community

Pachacamac district is recognized by the Archaeological Sanctuary of the same name and selling chicharrones in the district, however, this district has many tourist resources of interest to experiential tourism, rural tourism, gastronomic tourism, religious tourism.This research sought to make a diagnosis on the benefits that tourism is generating in the district of Pachacamac. The objectives that guided this research are to estimate the tourism villager attitude Pachacamac determine the role of local government, identify the bodies that manage tourism, know the benefits they generate for the villager tourism.The methodology used was quantitative and descriptive. interviews were conducted with a representative of the Municipality of Pachacamac, the pastor of the First Church of Pachacamac and the survey addressed to the villager and workers in the tourism and hotel business, which made up the population and sample.To analyze the perception of the villager on the benefits of tourism in it 247 surveys were conducted to settler where it was concluded: two less known tourist and visited places are those that offer the agritourism as is the Fundo Marengo and Bioagricultura White House. Bioagricultura White House Biohuerto Santa Maria, Chapel Virgen de Lourdes, Heladeria: Among the results obtained in the investigation the tourist inventory District Pachacamac determined necessary to make a diferent proposal of the tourism product to be developed giving priority to the following tourist resources developed White House, Lomas de Lucumo, Holy Saviour Church.Referring to the study population was obtained resources visited by them are the Sugar Loaf Mountain, where lies the Stone of Love and the Fountain of Youth, located in the Town Rural Cardal Center, this could be due to admission is free. People perceive that tourism is very important and they cater well to the visitor.The Church and the Municipality of Pachacamac are interested in supporting the development of tourism Pachacamac and revalues the fervor of religious holidays of the people. Sector entrepreneurs 68% have no studies of tourism, hospitality and gastronomy this being a weakness.

The icon of the Theotokos from the Church of St. Nicholas (Rajko’s Church) and the question of painting workshops in medieval Prizren

Based on stylistic and paleographical analysis, it can be safely concluded that the icon of the Theotokos from the Church of St. Nicholas (Rajko?s Church) in Prizren was not created in the 14th century as previously believed. It was painted in the last third of the 16th century by an icon painter close to the circle of Serbian painters formed in Pec. The suggestion of stylistic ties between this icon and the first fresco layer at the Church of the Holy Savior in Prizren and the wall paintings in the Church of St. Nicholas (the Tutic Church) is not acceptable. Furthermore, comparison of wall paintings in these and other contemporaneous churches in the area of Prizren, as well as the local icon paintings, does not substantiate the suggestion that an urban painting workshop operated in 14th-century Prizren.

Communications

Communications John Hajdu Heyer, professor emeritus This column provides a forum for responses to the content of this journal, and for information of interest to readers. The editor reserves the right to publish letters in excerpted form and to edit them for conciseness and clarity. To the Editor: The April–June 2016 issue of Fontes Artis Musicae (vol. 63/2) printed what is now a fourth published review of my 2014 book The Lure and Legacy of Music at Versailles: Louis XIV and the Aix School. Authored by Matthias Range, this review stands apart from the others as it contains a plethora of errors and inaccuracies. I appreciate Fontes Artis Musicae’s willingness to publish this response. All an author can ask of a reviewer is a factual report based on a careful reading of the text. This review falls short. It is difficult to reconcile too many of Range’s statements with the text of the book. Early in his review (second paragraph), he states: The term ‘Aix School’ seems very much to be Heyer’s own creation—although we are not told anything about this. An evaluation of the term near the beginning of the book would have been appreciated. He later claims that ‘[Heyer] has managed to avoid a clear definition of what exactly he means with the “Aix School”’ until the book’s final chapter (Review: p. 160, left column, line 2). Range apparently failed to notice the Preface, which begins with these words (p. xv): In the conclusion to his 1996 article ‘Le grand motet à l’époque de Rameau: Le cas de Claude-Mathieu Pelegrin (1682–1763)’, Jean Duron, while noting the number of distinguished composers who came from the choir school at Saint-Sauveur in Aix-en-Provence, poses a simple question, ‘Might there have been an Aix School?’ [Footnote 1 in the book: Duron 1996, 174: ‘Y aurait-il eu une école aixoise?’] This book responds affirmatively to that question. An extraordinary group of composers emerged from the cathedral of Saint-Sauveur (Holy Savior Cathedral) in late seventeenth-century Aix. The next paragraphs identify and describe the group, outline the time span of the book, introduce the composers, and conclude with the statement: Along with Pelegrin, Poitevin and his other students, André Campra (1660–1744), Jean Gilles (1668–1705), Jacques Cabassole (1674–c. 1733), François Estienne (1674–1755), Laurent Belissen (1693–1762), and Antoine Blanchard (1696–1770), as well as a few others, formed the Aix School. The Preface clearly introduces and explains the term at the outset and cites its origin with Jean Duron. The ‘evaluation of the term’ sought by Range is thus provided, in fact, in the first paragraphs of the book’s Preface, then restated on p. 2 of the General Introduction. Part II, titled ‘The Aix School: A Legacy of Maîtres’, further expands on the points introduced in the earlier pages. Later criticisms of the book affirm Range’s neglect of the Preface. He states that ‘the text includes too many inconsistencies and mistakes to list them in detail’ (Review: p. 160, right column, line 3 up), supporting the claim with this example (Review: p. 161, left column, line 4): There is no consistency as to when the French original of quotations is given in footnotes: on p. 29. fn. 57, we have the original text from a 1660 publication, while on pages 23 to 27 we are not given the original texts from a 1666 publication. Once again, a closer reading of the Preface (p. xvii) would have alerted Range to the fact that I intentionally included the original French in some footnotes but not in others for a reason. The Preface states: Original transcribed French texts from primary sources, where translated, are given in the footnotes, but manuscript transcriptions are not modernized. French texts that are available in secondary sources are not repeated in the footnotes. A bibliography lists both primary and secondary sources, many of the latter being available online. [End Page 326] Both passages singled out by Range follow this approach. That from the later source (Pitton’s Histoire de la Ville d’Aix of 1666), while an early print, is available...

POGLED NA EVROPSKU ISTORIJU I KULTURUU ROMANU TERRA NOSTRA KARLOSA FUENTESA

Celoviti roman (novela total) Terra Nostra meksičkog književnika Karlosa Fuentesa (1928x2012) četiri decenije nakon objavljivanja prvog izdanja (1975) i dalje predstavlja neiscrpnu građu za hispaniste, istoričare književnosti i naučnike, koji pretežno izučavaju latinoameričke teme, motive i simbole prisutne u tom delu. Budući da roman obiluje intertekstualnim elementima iz evropske istorije, kulture i umetnosti, pokušali smo u ovom radu da sagledamo istorijske činjenice na koje se pisac oslanja – preuzima ih, modifikuje i domaštava, potom likove iz tradicionalne španske književnosti, vešto upletene u radnju romana, i naposletku dela španskih i flamanskih slikara koja Fuentes koristi kao scenografiju i kao simbol. Naše istraživanje je zasnovano pre svega na izvorima iz samog romana, a potom na tumačenjima samog autora u knjigama i intervjuima objavljenim u periodu od 1976. do 2012. godine i stavovima brojnih stranih i domaćih stručnjaka za hispanoameričku književnosti koji su se, naročito u skorašnje vreme, bavili ovim delom. Izučili smo prvo elektronsko izdanje romana Terra Nostra na španskom jeziku (2013) i ukazali na uticaj tog dela na jedan od ključnih romana novije srpske književnosti: Opsada Crkve Svetog Spasa Gorana Petrovića.

Princely Halych: Intriguing Prospects for Archaeological Research

According to statistical data, permanent and local archaeological researches have coveredonly about ten per cent of the territory of Princely Halych, which opens up endless possibilities forresearch at the site of the ancient city. The chapter highlights the importance of the scientific andpopular works by Antin Petrushevych, Lev Lavretskyi and Izydor Sharanevych, who in 1882initiated the archaeological research on the mighty Principality of Halych (Galicia) and its capital,and the excavation of the first Christian church in Halych – the Church of the Holy Saviourmentioned in the Kyivan Chronicle. The little-known works of these scientists, which werepublished in Lviv newspapers in the 1880s, clearly show that Lavretskyi and Sharanevych’sfindings received international acclaim and were a significant factor in rousing nationalconsciousness and stimulating social activity of the Galician Ukrainians. It is difficult to explain thelack of interest in carrying out excavations outside the perimeter of the foundations of the Church,which could have enhanced the social, historical, topographical analysis of the monument and itssurroundings. A particular fact that proves the importance of such research is the discovery ofpendant seals, which modern sphragistics attributes to Prince Volodymyrko Volodarevych (1141-1153). This conclusion is in good agreement with the Kyivan Chronicle and the findings of thearchaeologists who excavated the Church of the Holy Saviour. All these facts provide grounds forthe hypothesis concerning the location of the State Chancellery and the mysterious Palace of the12th century Lords of Galicia.