Mother Of God Research Articles

РАЗВИТИЕ СЕЛА БАШКАТОВО В XIX ВЕКЕ НА ПРИМЕРЕ ДЕЯТЕЛЬНОСТИ ПРЕДСТАВИТЕЛЕЙ РОДА ТИНЬКОВЫХ И БАРОНА ОСТЕН-САКЕНА

The purpose of the article is to study the development of Bashkatovo village and the Temple of the Tolgskaya Icon of the Mother of God. The particular interest, according to the author, is the information about the history of the Temple of the Tolgskaya Icon of the Mother of God from its foundation to the present day, within which certain facts from the life of the organizers of the Temple – the landowner Tinkov and Baron Austen-Saken are considered. The description is based on the archival data, the studies of Orel art historians, local legends.

Опыт реконструкции биографии репрессированного священника Анатолия Масленникова (1891-1921)

The article presents the first experiment in compiling a biography of the priest Anatoly Aleksandrovich Maslennikov, who was shot in Tomsk in 1920 on charges of belonging to the White Guard organization and canonized by the Russian Orthodox Church Abroad in 1981. During the study, a huge number of documentary sources stored in state and departmental archives of Sverdlovsk, Tyumen and Tomsk Oblasts, as well as church periodicals, reference and scientific literature, and also the personal archive of E. Simpson (Great Britain) have been examined. This study provides materials for compiling a socio-cultural portrait of an Orthodox clergy representative who became a participant of the Civil War: his social background, education, and marital status. Some new biographical details have been discovered and the known data clarified, including the periods of his ministry as the prior of Zavodo-Uspensky parish in Tyumen District of Tobolsk Province (now Tugulymsky District of Sverdlovsk Oblast), the regimental priest in the White Army, and the priest in the Baturinskoe village of Tomsk Province (now Tomsk District of Tomsk Oblast). The fact of Maslennikov's training at Kurgan Theological School is published for the first time; his study at Tobolsk Theological Seminary is also considered. The circle of the priest's relatives has been determined. After the successful graduation from Tobolsk Theological Academy in 1913, Maslennikov married, was ordained to the priesthood and appointed Prior of Church of the Assumption of the Mother of God in the village of Zavodo-Uspenskoye. Before the Civil War, he served in the parish, educating peasants in addition to the church service. Father Anatoly did not share revolutionary ideas, and with the outbreak of the Civil War in the Urals he transferred to the military department and was sent to the 16th Ishim Regiment under the command of Colonel N.N. Kazagrandi. With the retreating army of Admiral Kolchak, the priest and his family arrived to Tomsk, and here, after the defeat of the Whites, he was appointed priest of the Church of St. George the Victorious in the Baturinskoe village near Tomsk in December 1919. On May 14, 1920, he was arrested on charges of belonging to the White Guard organization, and, after a short-term investigation, priest Anatoly was shot on June 25, among many other victims of the fierce civil confrontation. In 1994 Anatoly Maslennikov was rehabilitated. The study of individual biographies within the context of the era allows expanding the possibilities of compiling prosopographies (dynamic collective biographies of social groups) and revealing the socio-cultural characteristics of the clergy of the Russian Orthodox Church during the period of the most powerful social transformation of society in the 20th century.

ДЕЛО О КНЯЗЕ ЕФИМЕ МЕЩЕРСКОМ, ИМЕВШЕМ «В ДОМЕ ОСОБЛИВУЮ ГОРНИЦУ ДЛЯ СХОДБИЩА МНОГИМ ЛЮДЯМ, РАЗГЛАШАЯ ЯКОБЫ ЧУДЕСА, ПРОИСХОДЯЩИЕ ОТ ОБРАЗА ПРЕСВЯТОЙ БОГОРОДИЦЫ»

The published text is an extract from the 18th century case of Prince Efim Meshchersky, which shows the Prince’s atypical religious practice and reverence for the miracle-working Smolensk icon of the Mother of God kept in his house.

ПРЕДСТАВЛЕНИЕ ЕПИСКОПА ОРЛОВСКОГО И СЕВСКОГО СЕРАФИМА (ОСТРОУМОВА) СИНОДУ О ЧУДОТВОРНОЙ ТИХВИНСКОЙ ИКОНЕ БОГОМАТЕРИ ИЗ МЦЕНСКА

This paper is devoted to the letter of Bishop Seraphim (Ostroumov) of Oryol and Sevsk to the Synod on the subject of miraculous Tikhvin icon of the Mother of God from Mtsensk. The document is kept in the archives of Patriarch Tikhon and the Holy Synod office (RSIA). Thanks to that archival document, one can trace how the parish church authorities could relax strict rules of “synodal period” that limited the veneration of local shrines not recognized by the Church formally.

A Newfound Icon “Sophia the Wisdom of God with Miracle-Working Icons of the Mother of God” of the Late 17th — Early 18th Century: Aspects of the Iconographic Programme

The article discusses the unique theological programme of an icon painted in the town of Vologda at the turn of the 17th to the 18th century. The icon combines the image of Sophia the Wisdom of God with the miraculous icons of the Mother of God: “The Lamenting Virgin”, “Our Lady of Georgia”, “The Virgin Eleousa” and “Our Lady of the Kievan Caves”. The image of Sophia the Wisdom of God has a number of significant differences from the classical iconography that became widespread in the Russian art of the 16th and 17th centuries: there is no image of Jesus Christ and the figure of the fiery-faced angel is inscribed as “IC XC”. The study of this icon provides new information for the interpretation of the theme of Sophia the Wisdom of God in Russian culture of the 17th — 18th century.

ТЕМА «БЛАГОВЕЩЕНИЯ» В РАННЕХРИСТИАНСКОМ ИСКУССТВЕ

The paper is dedicated to the earliest formative stages of Annunciation imagery. Although it was widely spread in the Middle Ages, only a few examples of the scene survive from the early Christian period. Judging by the existing material evidence, it can be argued that the image of the Annunciation acquired recognizable and fully-fledged form only in the fifth century. Early examples reveal distinct formative stages of the iconography and the gradual introduction of additional features, enriching the content and visual rendering of this highly significant visual theme. This paper analyzes the influence of Apocrypha, as well as of the early theological tradition, on the development of the Annunciation scene and reveals the importance of this material to the study of the cult of the Mother of God.

Framing Mary: The Mother of God in Modern, Revolutionary, and Post-Soviet Russian Culture

Framing Mary: The Mother of God in Modern, Revolutionary, and Post-Soviet Russian Culture

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.

LATE ANTIQUE SEALS FROM ANCIENT SERDICA

The subject of this publication is three seals, each raising interesting questions. During the archaeological explorations of the ancient city of Serdica (now Sofia) conducted in the past ten years, 48 lead seals from the 4th – 7th A.D. period have been discovered. The scientific novelty of the discovered bullae are little-known specimens, or not described until now in the specialized literature. The description of all of the seals is given. The first one relates to John, excavated at the ‘Metro station 8 II’. The print is perfectly preserved with a very strong relief of the images of the Virgin with Child between two cypresses is relatively rare in combination with various reverses unpublished till now. It dates back to the 6th A.D. The second Byzantuim seal excavated at ‘Vesletz’ 13. (the territory of ancient Serdica) and there are there are no analogues.During the early Byzantine Empire, only the first or baptismal name was used on seals. The parents had a large choice of names: Latin names or their Hellenized versions were used in the eastern part of the empire, traditional Greek names with regional traditions were widely used, also names of Christian saints appeared, which gradually became very popular. As a result, every twelfth child was baptized with the name John, and as a result there are a large number of bulls named John , and some have the same name on both sides, which is usually explained by the kinship between the two persons . In order to identify the person, in some cases his position or title is added, but even this information is not enough to identify the owner of the seal, known to us from documentary or epigraphic sources.Another seal from ‘Vesletz’ 13 has an image of the Mother of God that is of the earliest type presented on the seals. There are different variants of the described monogram, there is no identical to the one on the seal from Serdica, also difference being in the position of the letter Р. In Bulgaria, only 3 copies of persons with the title patricius (VI–VII c.) are described, two with a block monogram and one with an inscription. In the seals discussed above, the names and the title of the owner are given in monogram form. Generally there are two types of monograms: block and cruciform. It is accepted that the first type appeared not earlier than the fifth century, when on the coins the name was also written in this way. The letters are located at the ends of the cross or at the intersection of its shoulders. This shape, as well as the angles formed, allows a large number of letters to be used. Conclusions. Usually, seals like the ones presented above dated to the period 6th-7th A.D. An important circumstance for the bullae from Serdica is that they were found during archeological excavations, in stratified sites and in layers with dated numismatic material, in which the coins of Emperor Justinian I (527–565) and Tiberius Constantine (578-582) predominate. This is an important indication, which makes it possible to specify the dating of the bulls no later than 2½ of the 6th A.D.

Образы «примерных детей» в отечественном детском портрете второй четверти XIX в.

In the field of Russian portraiture in the second quarter of the 19th century, a new «type» of children’s portrait images emerged, which the author conventionally calls «exemplary children». According to him, young models were portrayed as educational models for both the portrayed themselves and their peers and potential descendants. This «type» was formed at the junction of romantic ideas about the virtue of childhood, Christian ideals and, at the same time, growing realistic trends in art. It became widespread among both metropolitan and provincial portrait painters, which testifies to its compliance with the tastes and needs of the public of that time. The article examines portraits of children from the Tomilov families by A. G. Varnek and Kapnist, made by E. F. Krendovsky. They were created at the beginning and end of the specified time period, respectively, which allows tracing the development of the «type» in dynamics. Particular attention is paid to the ways in which the portraitists combined the images of real boys and girls, shown in the natural setting of home activities, with a complex spiritual and moral content. The latter was achieved through the use of the universal language of Christian symbolism, bold comparison of images of children with images of Christ, the Mother of God, angels and saints.

MENDALAMI GELAR-GELAR SANTA PERAWAN MARIA BUNDA ALLAH DALAM PENGAKUAN DAN AJARAN FRANSISKUS

There is a line of titles of Saint Mary mentioned by Pope Francis in his published encyclicals and apostolic exortations. However, we summarize them into seven new titles, namely, Saint Mary is the daughter of Zion, mother, queen, woman, star, bride, and the spring of happiness for the little people. We consider that the number seven title has opened the minds of the faithful about the joy of believing in the Triune God who saves the world and the significant role of Saint Mary in the success of this exalted work. The recognition of the seven new titles aims to support the understanding of the faith of the Catholic faithful in the Blessed Mary as Mother of God and Virgin. Apart from that, another goal is that the quality of the Church's faith in the virginity of Saint Mary and her mother of God will be strengthened. What kind of quality do you want to affirm? What he wants to affirm is the quality of the Church's faith which is rooted in the past of the Old Testament, which is flourishing and expanding in the present, and which will bear fruit to await eternal happiness in the future (eschatological). Thus, the seven new titles of Saint Mary can reveal the faith of the Church to live at all times.

Зображення Богородиці у сакральному мистецтві та музейних колекціях Венеції

На основі італо- й англомовної літератури представлено аналітичний огляд зображень Богородиці у релігійному живописі, скульптурному мистецтві, музейних колекціях і мозаїках м. Венеції. Почитання Пречистої Діви Марії, як покровительки міста, у Венеції має давні історичні витоки й яскраво виражене за допомогою візуальної мови мистецтва різних стилів, зокрема італійського ренесансу. Відомі малярі, представники знаменитої венеційської школи живопису, залишили після себе велику кількість полотен присвячених Богородиці, які зберігаються у храмах, музеях, галереях Венеції та репрезентують важливий вимір для сучасних історичних, мистецьких, теологічних і маріологічних досліджень.
 Іншим важливим аспектом є мозаїки храмів Венеції та островів Венеційської лагуни, які представляють переплетення візантійського стилю з творчими здобутками венеційських майстрів, які ґрунтовно навчалися техніки візантійського мистецтва, у результаті витворивши свої унікальні стилістичні особливості.

BYZANTINE STONE ICON OF THE VIRGIN HAGIOSORITISSA FROM VSHCHIZH

The fragment of stone icon with the image of Virgin, outstretching her arms in prayer, has been found in 1949 during the excavations of B. A. Rybakov on the site of Vshchizh, the small city of Chernigov principality. After the invasion of Batu Khan in 1238 it was destroyed and depopulated until the 16th century. T. V. Nikolaeva included the icon into the catalog of Rus stone icons as local craftsman’s production of 12th (?) century, exquisitely made and preserved the painting. The icon has been reproduced on the poor-quality black and white photography and for a long time did not attract the attention of researchers. The examination of digital image of the icon showed that T. V. Nikolaeva opinion was incorrect. The icon preserved not only the painting but also the gilding and Greek letters of dipinto representing the monogram of Mother of God. Usually the dipinti or their traces preserve very poorly on a stone and bone, especially on the icons which have been worn on the breast. The painted inscriptions were wiped away and later replaced by carving or repainting. Gilding, painting and dipinti are known on the Byzantine stone and bone icons but they have not been found on the icons made by Rus craftsmen in pre-Mongolian time. The using of all these techniques, fine relief, thickness of the plate (less than 1 cm) permit to consider the icon from Vshchizh the work of Byzantine, probably Constantinople, craftsman. The iconography makes it possible to attribute the image of Virgin to the type of Hagiosoritissa, and the style permits to date the icon to the second half of 12th — the beginning of 13th century.

L’ideale di santità di Ildegarda di Bingen (1098-1179)

L’ideale di santità di Ildegarda di Bingen emerge non soltanto dalle agiografie composte in onore di Disibodo e Ruperto, patroni dei due monasteri in cui l’agiografa visse, ma anche nella Symphonia armoniae celestium revelationum, un ciclo poetico-musicale in cui è ricostruita l’intera storia della Chiesa, dalle origini apostoliche fino alla nascita del monachesimo. Un ruolo fondamentale in questa ricostruzione è riservato a Maria e alla sua funzione materna. La Vergine ricongiunge la creazione del mondo veterotestamentaria alla rigenerazione del mondo avvenuta nel giorno dell’Incarnazione. Nel grembo di Maria e, quindi, in Cristo confluiscono tre livelli di lettura del testo del Genesi: la creazione (piano letterale), la Chiesa (piano allegorico) e il monachesimo (piano morale-tropologico). Anche Disibodo e Ruperto partecipano ai tre livelli dell’interpretazione genesiaca, ma in loro trova soprattutto spazio il piano morale. Sono, infatti, espressione dell’ascesa dell’uomo nel cammino di virtù, che ha come meta finale l’unione con Cristo.

Western Sophiology? The "Eternal Feminine” in the Thought of Henri de Lubac

The study is dedicated to the Mariology and ecclesiology of Henri de Lubac. It analyzes the works in which de Lubac emphasizes the unity of these two fields of theology, referring primarily to the Fathers of the Church and to the thought of Pierre Teilhard de Chardin. This article tries to show that these are not purely historical references, but an expression of de Lubac’s original reflection, which forms a coherent whole. This whole is reconstructed at the end of the article. In consequence, there might be seen a kind of “Western sophiology,” a theological synthesis in which the “feminine element” plays an important role, and the central, rather than peripheral, nature of the truths of faith concerning the Mother of God and the Church becomes visible.

El Espíritu Santo y María en Lumen Gentium

La constitución dogmática sobre la Iglesia del concilio Vaticano II profundiza en las relaciones entre la Tercera Persona de la Santísima Trinidad y la Virgen María. La santidad original de la Virgen, formada por el Espíritu Santo como nueva criatura, requerirá de ella una actitud activa y consciente, como colaboradora única en su obra. De este modo, la Madre de Dios aparece con las notas de “Casa de Dios”, “Theotokos” y “Madre de la Iglesia”. La obra de H. Mühlen se convierte en referencia canónica obligada para la recta comprensión de esa relación pneumatológica.

TWO PRINTS BY LEONTY BUNIN IN THE 18TH CENTURY SERBIAN GRAPHIC

The article is devoted to two engravings depicting Jesus Christ and the Mother of God in lush ornamental cartouches. They are well known to Serbian art critics and are published in the catalogs of Serbian metal engravings of the 18th century. Copper engraved boards of these engravings, which Serbian researchers attribute to the end of the 18th or the beginning of the 19th century, are preserved in the Krka Monastery. Prints from them of the 18th-19th centuries are unknown in Serbian collections. In Serbia, the first prints from these boards were made in the 20th century. However, prints from these engravings were well known in Russia in the 17th-18th centuries. They were primarily used as illustrations in Russian manuscript books. The engravings were made by a Russian master at the end of the 17th century. According to the features of engraving, manner, and stylistics, they can be attributed to Moscow engraver Leonty Bunin. In Russian manuscripts, they were usually used as illustrations in the book The Passion of Christ along with the 14-sheet series The Passion of Christ by Leonty Bunin. Cases of using them as independent illustrations are known. In the 1730s, these engravings disappeared from the illustrations in The Passion of Christ series in Russian manuscript books. Their later prints are unknown in Russia. The history of their appearance in Serbia, in the Krka Monastery, remains unknown. Perhaps they appeared there as gifts from Russia which the monastery regularly received. In the 18th century, Serbian religious art experienced a powerful influence from Dutch graphics. As iconographic sources, Serbian masters used Flemish and Dutch engravings of the 16th and 17th centuries. They were the same ones that were used by Russian masters of the 17th century, especially of the second half of the century, as iconographic examples. The identity of the artistic processes that took place in the art of Serbia in the 18th century and Russia of the 17th century turned out to be so close that Serbian art historians regarded the Russian prints of the 17th century by Leonty Bunin as Serbian works of an unknown engraver of the late 17th - early 19th centuries. The biography of Leonty Bunin is considered in detail in the article, some facts of his life are presented for the first time.

Придворні танці в культурі західно-європейського високого середньовіччя

The purpose of the article is to analyze the historical context of the court dance formation as a cultural phenomenon of the High Middle Ages, to identify its characteristic features and to find out the role and significance in the establishment of a civilizational model of behaviour in the European cultural space. Methodology. The historical-chronological, cultural and analytical approaches are applied to highlight the historical context of the court dance formation. The scientific novelty. For the first time, the court dances of the West European High Middle Ages are analyzed in the context of the then worldview concepts. Conclusions. Court dances, as a characteristic feature of the knight courteous culture of the High Middle Ages, the playful phenomenon and at the same time the pious action, contain deep sacral meaning and with the help of gestures (gestus), the plasticity of hands and bodies represent the requirements of courteous theology – worship of the Lady of the Heart, which is actually identified with the attitude towards the Mother of God. In court dances, as a result of “feudalization of love”, the roles of participants in the dance action are distributed according to which the Beautiful Lady becomes an object of worship, and the knight in non-verbal form testifies to her his “love service”. This distribution lays the foundation for the development of pair dances as a new phenomenon in the history of choreography. The growth of the generalization of flexible movements and codified gestures (gestus), their abstractness, allowed us to present in more detail the models of behaviour in interpersonal communication. And therefore, court, courteous dances demonstrated the “correctness” of the aesthetic behaviour of knights as a statement of the ideals of beauty in relations between the sexes. A pious and respectful attitude to the Beautiful Lady, emphasizing the moral and spiritual component in the relationship between a woman and a man-knight contributed to the increase of the social status of women. And the chivalrous ethos, whose visible representation was court dances, became the basis of a civilizational model of behaviour that was gradually formed in the European space.

NESTORIUS, CYRILL VE PULCHERIA ÜÇGENİNDE MARYOLOJİ VE NASTURİLİĞİN DOĞUŞU

Meryem’in tabiatı üzerine V. asrın ilk çeyreğinde başlayan Maryoloji tartışmaları Hristiyanlıktaki ikinci büyük ayrışma olan Nasturiliğin doğuşuna sebep olmuştur. Meryem’in Tanrı’nın Annesi mi (Theotokos) yoksa Mesih’in Annesi mi (Kristotokos) olduğu yönündeki tartışmalar her ne kadar teoloji ve kristoloji temelli görünse de arka planda Kilise merkezleri arasındaki siyasal çatışmaların olduğu bilinmektedir. Bu tartışmaların neticesinde düzenlenen I. Efes Konsili’nde Konstantinopolis Patriği Nestorius’un “diyofizit” görüşü mahkûm edilmiştir. Bu çalışmada Hristiyanlıkta Meryem Kültü’nün beslendiği kaynaklar, Meryem Kültü’nün oluşmasına yol açan teolojik ve kristolojik tartışmalar, tartışmaların arka planında bulunan Antakya Kilisesi, İskenderiye Kilisesi ve Konstantinopolis Sarayı arasındaki siyasal çatışmalar ve bunların sonucu olarak 431’de Efes’te toplanan üçüncü ekümenik konsil incelenmiştir.

Wizerunki świętych kobiet w wybranych utworach hagiograficznych dla dzieci i młodzieży po 1989 roku

The Mother of God – as the mother of Jesus and the embodiment of boundless love, goodness and fidelity – is the prototype for the presented models of holy women in contemporary hagiographical works for children becomes. These values constitute the core of all portraits of holy women, regardless of the accepted divisions and their different ways of achieving holiness. They can be found in brides and mystics, virgins and martyrs, teachers and educators, mothers and wives. And it is they who, besides sacrifice, mercy and the ability to look at God and listen to Him, determine the consistency of the portrait of a holy woman. Serving man meant serving God, going beyond one's own egoism, temporal hedonism, and materialism. The spirituality of future saints was shaped by the religious atmosphere of the family home, personal sensitivity and reading. These models were still united by the beauty, delicacy, frail health, serene disposition, and smile shown to people. Some can be treated as special signs, appearing in early childhood, which already then suggested their otherness as well as the gifts received, e.g. bilocation or the surrounding light and shine. The images of saints and the blessed in contemporary hagiographical works for the young reader are in line with the poetics, but they also force us to reflect on the awareness of goals, victory over weaknesses and the power of love.