Recenzia: Slovenské dejiny II. 1526 – 1780.
The review of: BADA, Michal. SLOVENSKÉ DEJINY II. 1526 – 1780. Bratislava: Literárne informačné centrum, 2017, 385 s. ISBN 9788081191039.
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The review of: BADA, Michal. SLOVENSKÉ DEJINY II. 1526 – 1780. Bratislava: Literárne informačné centrum, 2017, 385 s. ISBN 9788081191039.
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The historical and theological analysis of Luther’s Army Sermon against the Turk (1529/30), published after the Siege of Vienna – led by the Ottoman sultan Suleiman the Magnificent (d.1566) –, is dedicated to clarifying the ambivalent image of ‘Islam’ in the context of the medieval apocalyptic imagination and confessional exclusivism. This article formally clarifies the character of the language of the sermon and its terminology, which was shaped by religious and social stereotypes. The structure of the sermon is divided into two parts, where the first part deals with the teaching and the second part is an admonition of the addressees. Luther uses the biblical prophecies (Dan, Ezek, Rev), examples of figures from both the Old (Uriah the Hittite) and the New Testament, as well as saints of folk piety (Saint Maurice, d.287) in order to create relevant arguments concerning the defensive war against the Ottoman Empire, which the article compares to Erasmus’ position in 1529.
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Delvina et son environnement rural sera le point de mire dans cet ouvrage. Environ d’elle se trouvait un nombre relativement grand de villages de l’Albanie du Sud-Ouest, avec un niveau supérieur de développement économique. Delvina est un exemple des plus typiques de la transformation d’un village moyennement développé en un centre urbain et plus tard aussi en un centre plus important administratif, militaire et économique de l’Albanie Méridionale. Grâce à sa position stratégique dans la voie qui liait l’Albanie intérieure méridionale avec les côtes de la mer Ionienne, elle s’accrut et se développa petit à petit jusqu’à la deuxième moitié du XVIe siècle et elle devint un centre de sandjak.
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Në këtë punim do të bëhet objekt studimi Delvina dhe rrethinat e saj fshatare. Po e përqëndrojm ë vëmendjen këtu jo rastësisht. Rreth saj ndodhej një numër relativisht i madh fshatrash të Shqipërisë Jugperëndimore, me një nivel zhvillimi ekonomik të lartë. Delvina është një prej shembujve më tipikë të shndërrim it të një fshati mesatarisht të zhvilluar në një qendër qytetare e më vonë edhe në qendrën më të rëndësishme adm inistrative, ushtarake dhe ekonomike të Shqipërisë Jugore. Falë pozitës së saj strategjike, në rrugën që lidhte Shqipërinë e brendshme jugore me brigjet e detit Jon, ajo u rrit e u zhvillua shkallë-shkallë deri sa në gjysmën e dytë të shekullit XVI u bë qendër sanxhaku.
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This article examines a small double-sided icon from the National Church Museum of History and Archaeology of the Holy Synod, Sofia (Inv. No. 3538). The icon has not been specifically researched, and was dated by different authors to the period between the 14th and 16th century. Just recently it was noted, that it was brought in by Prof. Ivan Goshev in 1942 from the Church of St. Andrew at the gorge of the Treska River, Republic of North Macedonia. The analysis of historical sources and the icon’s artistic features showed that it most likely originated from the Hilandar monastery, where it was painted in two stages and from where it was taken to the Church of St. Andrew by a monk or pilgrim. The original icon with a half-length image of St. Andrew dates back to the last decades of the 16th century and was produced by an unknown painter, following the style of the Cretan masters, but with a unique signature. The same icon painter, again in the Hilandar monastery, painted another small icon depicting the image of St. Eutychius of Constantinople. The other side of the icon with the composition The New Testament Trinity with the Coronation of the Virgin was made by an icon painter from the atelier of Macarius of Galatista during the first decade of the 19th century. The icon from the Church Museum most likely performed the function of an icon for prayer in a monk’s cell, but today it is a testament to the connections between the Church of St. Andrew at the gorge of the Treska River and the Hilandar monastery. It is unknown for what reason the icon painters or donors chose to depict specifically St. Andrew the Apostle and the New Testament Trinity with the Coronation of the Virgin on the icon’s two sides, but it is certain that the commonality between both images is their presence in both orthodox and western art.
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There are two thematic focuses at the south aisle of the Metropolitan Cathedral of Sts Peter and Paul in the city of Veliko Turnovo: a calendric cycle and below are representations of monks and saints. Well-preserved are only fourteen of them, where only St Simeon Stylites holds not a scroll. The monastic representations aregrouped into three: the first group facing east begins with an unidentified saint, probably St Anthony the Great, judging by the restoration of the half-damaged inscription. Next come St Euthymius holding a scroll containing a passage of his own vita written by Cyril of Scythopolis, and St Athanasius with a scroll with part of the life of St Pachomius the Great on it. The second group features the representations of St Sabbas the Sanctified, St Hilarion the Great and St Theodosius the Cenobiarch. The texts inscribed in their scrolls convey strong messages to the readers from monastic practices. These texts are recorded in the popular hermeneiai in Greek, the so-called First and Second Jerusalem Manuscripts. The scroll of St Theodosius is unusually folded in half with the closing two lines of the text inscribed overleaf and read from top to bottom. The third group includes the Sinaitic monks St Nilus of Sinai, St John of the Ladder (Climacus) and St Simeon Stylites. The text on the scroll of St Nilus conveys a message of renouncing one’s will and achievingimpassibility, and that of St John of the Ladder the practice of virtue.The fourth group includes the representations of St Cyriacus the Anchorite, and unidentified saint (probably St Theodore the Studite) and St Maximus the Confessor. St Cyriacus forewarns unmindful monks and Christians of being vigilant at all times and “stand aloof from the world” so that to avoid falling prey to the “night mind thief”. St Theodore the Studite (?) holds a text on constant prayer and gratitude as a means to be blessed by God for good works. St Maximus the Confessor also reminds constant prayer and gaining an insight into love. The primary source of his message is the ascetic Capita de caritate (Four Hundred Chapters on Charity), compiled by St. Maximus the Confessor. The explanatory inscriptions of the last two representations are damaged. The first saint is, in all likelihood, St Cosmas of Maiuma, holding a scroll with a passage from the canon of Maundy Thursday. The second saint holds a text also borrowed from Capita de caritate by St Maximus the Confessor.
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This article presents the history, architecture and murals at the Church of the Dormition in the village of Dolna Dikanya, focusing on the 16th-century paintings extant on the east wall of the naos: the Ascension, the Annunciation, Virgin Platytera, Adoration of the Lamb and Sts Deacons Stephen and Romanos the Melodist. Placing the Archangels Michael and Gabriel in medallions flanking the Holy Mandylion in the composition of the Annunciation may be interpreted as an iconographic specific. The sole example we are aware of is at the Church of St Demetrius (1488) in the Monastery of Boboshevo. Another specific, unknown from other monuments, is the representation of Christ Emmanuel in a medallion in front of the chest of the Virgin in the conch, replicating the radiancy in the scene of the Ascension. The frescoes were, in all likelihood, painted by a team of two masters of local significance. Until now, the literature has dated the murals at the Church of the Dormition to the 16th or 17th century. At this stage, no stylistic parallels could be drawn; still, some of the characteristics are similar to the monuments of the second half of the 16th century.
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A huge collection of ceramics finds was discovered by digging a basement on the court of the family house in the village Šintava (district Galanta, Slovakia), in March 2020. For this reason, the Department of Archaeology at Constantine the Philosopher University in Nitra realized archaeological excavation. During the excavation were documented three settlement features, which were secondary filled mostly with the ceramics. Some of them were fragments of stove tiles, especially panel stove tiles with different types of motifs. In this study, the collection of stove tiles are presented and evaluated by iconography, morphology, type-chronological classification, and also an extension on the territory of Slovakia. The finding itself is also evaluated within Šintava past settlement.
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2019. aastal õnnestus Poznańi muuseumidest leida kaks keskaegselt Liivimaalt pärit kunstiteost, mis olid Poolasse jõudnud Teise maailmasõja sündmuste tulemusena: Riia mustpeadele kuulunud Püha Mauritiust kujutav puuskulptuur (1431) ja Adaverest leitud pronksist akvamaniil (1515). Artiklis käsitletakse nende esemete leidmis- ja uurimislugu.
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1445 – a moment that indicates a sudden change in the cultural evolution and developement of book diffusion. In the middle of the 16th century, at Mainz, was created the first printing house from Europe. During five decades, the number of such „printing houses” became larger and larger – there were over 250 offices in the second half of the 15th century. Lyon is considered to be one of the most important typographical centers from Europe. It was establish in 1473 and became famous all over the world because of the distinctive artistic value of its printed works. Besides, there were arround 50 offices in this town and they were all developping in a specific way, with no kind of forbiddennes. During the 16th century, many famous typographs have worked at Lyon: Barthélemy Buyer, who’s name is connected with the first steps of french typography; Martin Husz – who realized the first illustrated book from France; Johann Trechsel – a very educated and inventive person; Josse Bade; Sebastian Gryphe etc.The works of all those typographs can be found at Cluj Napoca, at the Academy’s Library. Thus, Sebastian Gryphe is represented by 69 of his printed works; there are the texts of some famous authors, such as: Macrobius Ambrosius, Cicero, Titus Livius, Sallustius Caius Crispus etc. His son, Antoine Gryphe is also represented by his work: 13 copies from Cicero, Iacopo Sannazaro, Vergilius Polidorus etc. Jean de Tournes is famous for the elegance of the letters used for printing, for the truthfulness of the information transmitted. There are 25 copies of his works that can be admired at Cluj Napoca along with those printed by his son, Jean II de Tournes.There are many typographs, and booksellers at the same time, in the 16th century. Some of them are also represented at Cluj; Guillaume Rouille (Rovilius), who’s belief was that „typography does not mean a job, but an art” – 39 copies; Antoine Vincent (Vincentius), one of the richest booksellers at the middle of the 16th century – 19 copies. The books printed at Lyon are properly represented at Cluj Napoca; their value does not consist only in their age, but also because of their exowners, some of the most important cultural personalities from Transylvania.
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All things considered then, we may conclude that the status of kasaba (town) has been assigned to those non-urban settlements, which would include a mosque with a mektep (school), a hamam with continuous water supply and sewerage system, a bazaar with numerous shops, an inn and relating buildings, as well as a zaviye or tekke (Dervishes’ lodge). Indeed, based on relevant Ottoman sources, such as the foundations’ statements (vakıfname), edifice’s epigraphs, but also other secondary sources, it is difficult to escape the conclusion that in Albanian inhabited areas, the kasabas have appeared in the second half of the XV century, initially in Korça (1495), then Zinova (1538), Kavaja (1561), Rogova (1580), Kaçanik (1594), Gjakova (1595), Gostivar (1601), Tirana (1614), Roshnik (mid-seventeenth century), Peqin (1666), Gjilan (mid -eighteenth century), etc. All the founders of the kasabas in the ethnic Albanian lands were Albanians with key positions in the Ottoman state administration, who, more or less, had gained abundant wealth. Driven by patriotic and religious motives, they had invested most of their wealth in their homeland, for charitable purposes, and in compliance with the vakıf system. It should also be noted that during the XV-XVIII centuries, the places where the kasabas were established were property of ethnic Albanian population. Whereas it is commonly argued that this population has been heterogeneous in terms of religious affiliation or, more precisely, in terms of affiliation to religious rites, i.e. Catholic or Orthodox, which is also confirmed by written sources of different origins, on the other hand this cannot be taken as an argument for the tendentious and completely unsubstantiated hypotheses, according to which the Slavic or Greek Orthodox homonyms and patronymics of the population of the villages where the above-mentioned kasabas were established, showed that these villages had a mixed ethnic Albanian-Slavic, or Albanian-Greek population. The Albanian kasabas of the XV-XVIII centuries were developed according to the principles of oriental Islamic urban planning, whereby the mosque was the central edifice. The other infrastructural and supra structural objects mentioned above were erected about it. New kasabas in the Albanian lands have sprouted in those places where there were conditions for their development, such as the possibilities for easy movement of commercial caravans, possibilities to be protected, of running water, either for drinking or for the obligatory cleaning with a view to carry out the other religious duties of the Muslim population, but also as a vital factor of urbanism.
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Accounts of the character and deeds of Nikola IV Zrinski (1508 – 1566) who became renowned for preventing the fall of Szigetvár in 1566 and of the work and life of his great-grandson Nikola VII Zrinski (1620 – 1664), a 17th-century baroque poet, had long played central roles in the building of national awareness and political ideology in Hungary. The Slavic inhabitants of the Kingdom of Hungary were familiar with the general who fought against the Ottoman Empire since the 16th century, but in the 19th century, in the context of the idea of Slavic mutuality and Pan-Slavism, this historical figure became more important. In 1866, Andrej Sládkovič (1820 – 1872) wrote a historical epic Gróf Mikuláš Šubić Zrínsky na Sihoti [Count Nikola Šubić Zrinski at Sziget] in which he described Zrinski’s heroic deeds from the perspective of Pan-Slavic identity in detail. He drew on Ján Kollár’s sonnet “My sme dali Uhrům Zríniho” [We gave Zrinski to the Hungarians] included in his Slávy dcera ([The daughter of Sláva] final version published in 1852). The sonnet asserts that the Slavs left Zrinski to the Hungarians, just like they left Ján Hus to the Germans and Nicolaus Copernicus to the Italians and that they also gave up Zrinski’s legacy. In his epic poem, with the help of the poetry of his grandson, he returned Zrinski to the Slavic Pantheon.
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Review of: 1. Steven Moore (2010) The Novel, An Alternative History: Beginnings to 1600. New York: Bloomsbury ISBN: 978-1-4411-7704-9. 698 pages.; 2. Steven Moore (2013) The Novel, An Alternative History: 1600-1800. New York: Bloomsbury ISBN: 978-1-4411-8869-4, 1013 pages. Review by: Abdulfettah İmamoğlu
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In the paper the author summarises the results of a decade’s archaeological investigation at the mediaeval sacral site of Crikvine, in the Smiljan hamlet of Čovini. It concerns two single nave Romanesque churches, of which the oldest was built at the end of the 13th century. The new one was built very quickly and over two centuries it was remodelled or repaired on several occasions. Next to and inside the nave of the church is located a multi-layered cemetery and 176 burials were investigated in situ. In 44 graves articles were found that belong to the end of the late High and Late Middle Ages from the second half of the 13th to the end of the 15th and the beginning of the 16th centuries in Croatia.
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The Turks developed a very strong weaving culture and produced extraordinary fabrics in the historical period, especially in the Seljuk and Ottoman periods. Ottoman weaving lived its most magnificent period especially in the 16th century. The fabrics that have a very rich material and pattern content, called Ottoman “Palace Fabrics”, were woven with high technique, was an important commodity as a commercial element. Ottoman-era fabrication has experienced such a magnificent period that it was customary to lay silk fabrics with gold and silver mixture on the roads where the sultans walked. These fabrics were called Payendaz. "Payendaz" were thick fabric runners laid on the roads that the sultan walked. In the literature review, it has been observed that there are not many written publications and visuals about the use of "Payendaz" in the Ottoman period. This study has been conducted since it has been determined that there are not enough sources regarding the use of Payendaz fabrics in Ottoman fabric art, as well as dealing with their technical and artistic features. The study has been prepared using the literature review method. First of all, literature review was carried out. Written and visual sources determined as a result of the scanning were classified and interpreted by compiling the information and images in the sources.
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During the Ottoman period, progress was made in many areas including commercial, social, cultural, art and design. In this period, parallel to the development of Turkish art, the development of fabric art was also positively affected. It has been taken care to manufacture fabric weaving, which is under state control, and has been paid attention to the preservation of originality in pattern designs. The palace fabrics, which experienced its most productive period in the 16th century, reached the highest level in terms of raw materials, patterns and design features. In the 17th century, the variety of motifs in fabric designs continued to increase. The magnificent fabrics reflecting the unique features of Turkish culture and art have gained an international reputation by crossed the borders of the empire and have took their place in various museums and art galleries. Today, many works on Ottoman textile art continue to be exhibited in museums abroad. One of these museums is the Calouste Gulbenkian Museum located in Lisbon, the capital of Portugal. The fabric samples that have reached to the present day reflect the rich cultural accumulation. The aim of this study is to examine and document the design features of the fabrics exhibited in the Calouste Gulbenkian Museum, such as motif, composition and color, and transfer them to future generations. Screening method was used in this study. While the universe of the research is composed of textile products in the Calouste Gulbenkian Museum, the sample of the research is 14 fabric samples belonging to the 16th and 17th century Ottoman period, which are exhibited in the exhibition section of the museum. Fieldwork was carried out in the Calouste Gulbenkian Museum. The motif, composition and color features of the fabrics examined within the scope of the research were explained in detail and drawn in digital environment.
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The preserved exempla in glagolitic literature represent an exceptional and little known fragment of the whole, very rich medieval European exempla literary tradition (J. Th. WELTER, 1927). The exempla in the Senjski korizmenjak (Lent Book) belong to the translation of Quaresimale in volgare, of the Franciscan brother Roberto Caraccioli (1425-1495) from Lecce. The Senj exempla reflect Caraccili’s directions of unifying of oral and written literal expression with the Croatian language and glagolitic alphabet dedicated to laics and priests in a popular, interesting and memorable way which supported popular sanctity as well as everyday ethic and communicative relationship between preacher and believers. Of 19 exempla in the Korizmenjak which we transliterated according to systemised norms and we especially concentrated on the 13th which is known in every western European collection of exempla under the title of Ungrateful Son. Our thoughts we concentrated on appearance of the frog and its role and symbolism which it brings to this story.
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Cause of dictionaries cover the entire vocabulary of a language, they are the basic resources for the survival, preservation and transfer of that language to future generations. Verse dictionaries, on the other hand, were the types of dictionaries that we encountered in the Ottoman field, especially since the XVI. century. Although some of them were written to show the artistic power of the author, most of the verse dictionaries were written to be used in the field of education. Bilingual verse dictionaries were prepared that are easier to memorize, especially depending on the importance of memorization in foreign language learning activities. One of these dictionaries is "Tuhfe-i Şâhidî", which is a Persian-Turkish verse dictionary written by Şâhidî İbrahim Dede to understand Mevleviism and especially Mevlana, who wrote all his works in Persian. In this article, the vocabulary of Şâhidî's dictionary will be examined and the features of the vocabulary of his era will be determined. In addition to being a diachronic work in a way, this analysis will try to explain the developments and changes in the vocabulary of the language by making simultaneous determinations by making connections between the vocabulary of that day and the present vocabulary.
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The article is devoted to evaluation the collection of medieval and early moderm period stove tiles, which were founded in castles Brada and Bradlec (district Jičín, northeastern Bohemia). Although it is a relatively small collection (a total of 81 pieces, 8.9 kg), brought their processing range of valuable information. Due to the relatively well-known dating demise of both sites (castle Brada abandonned before 1500, the castle Bradlec before 1600), both collections can help with the date files from neighboring localities. Surprisingly operates frequent occurrence analogies with findings from a nearby castle Kumburk.
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