РЕЛІГІЙНО-ЕСТЕТИЧНИЙ ДІАЛОГІЗМ І СИНКРЕТИЗМ В АРХІТЕКТУРІ УКРАЇНСЬКОГО КОЗАЦТВА

Author(s): Victoriia Mykolayivna Pishchanska / Language(s): Ukrainian Issue: 4/2014

The features of Baroque architecture of Prydniprovia are reviewed. The role of the Orthodox religion in cultural processes that occurred in Ukraine during the XVII – XVIII centuries, influenced by Baroque trends and phenomenon of Ukrainian cossacks is analyzed. The influence on the aesthetic ideas of the formation of cossack architecture is researched. The stylistic analysis of Cossack architecture monuments is made. It opens the possibility to confirm its authenticity, uniqueness and originality.The author admits that the churches, cathedrals, temples of the XVII – XVIII centuries in Prydniprovia formed the original authentic style where closely intertwined the unique features of Ukrainian national culture with the baroque stylistic features. The fundamental factors in its formation were historical events and the phenomenon of Ukrainian cossacks. The cossack element and canons of martial fraternity led to the emergence of particular ethnic style – Cossack Baroque style. We can see its unique features in the special aesthetics, based on profound religiosity of Ukrainian Cossacks. The research of cossack art, including its spatial forms provide opportunities for understanding those peculiarities of Ukrainian culture that are the indicators of Ukrainian spiritual culture of the XVII – XVIII centuries. The author focuses on the ratio of religious and aesthetic factors and their interpenetration in the architecture of Ukrainian cossacks.The author states that the internal integrity of the Cossack art and the role of the church as its highest display determine the unity of the struggle for the freedom and the faith that inspired the cossacks and dictated the need of ideal. A church in the culture of the Ukrainian cossacks is the aesthetic embodiment of ideal of people spiritual unity, the embodiment of all kinds of handicrafts. In the Cossack attire and appearance we see the national original combinations of aesthetics and ethics, goodness and beauty categories combinations. Among the Ukrainian churches of Cossack era is impossible to find two identical ones, each has its own character, caused by innate fascination of people by the beauty, by great potential strength, by invincible necessity to create, and the most important it is caused by the Cossacks aesthetic ideals and religious principles.The combination of ethnic items in the Cossack Art with the stylistic features of Ukrainian Baroque is laid in the base of general principles of sacred building in Zaporizhzhya region and concerns the whole monuments, which gives them the certain characteristics. Undoubtedly, the artists of the XVII – XVIII centuries solved the problems of architectural creativity by using the Baroque basis and changing their architectural beliefs. The Cossack architects worked in the conditions of free creativity, they were not limited by prepared formulas and rules. In this regard, in the architecture of the Ukrainian Cossacks we mention the emergence of the new stylistic features, observe the formation of the new baroque aesthetics, based on the use of unusual means of space design, the formation of special architectural concepts and the implementation of the original architectural logic of volume and space shapes. The author makes the conclusions that the unique architecture of the Ukrainian Cossacks is based on the simultaneous superposition of cultural and historical factors, stylistic and national traditions, with comprehensive penetration of aesthetic trends that are typical to the Baroque style. It stipulated the religious and aesthetic syncretism in the architectural art in the Cossack period.

The Good Shepherd, the Sheep and the Wolf – St. Sava’s Usage of the Johannine Theology of the Good Shepherd (Jn 10) in His Life of St. Simeon

Author(s): Darko J. Krstić / Language(s): English Issue: 15/2017

St. Sava frequently uses the Johannine Good Shepherd motif (Jn 10) in order to present a biblical framework for the presentation of his father’s life in the Life of St. Simeon. The Old Testament background of the Johannine motif (Ez 34) implies a political application of the Shepherd motif to a political ruler and this is exactly what St. Sava accomplishes when he depicts his father as Shepherd in the crucial moment of his political abdication (1196). In this manner St. Sava characterizes the whole political career of his father, in the very moment of his Farewell Speech, with the help of the Johannine Good Shepherd motif. If the political context of the reception of the Johannine Good Shepherd motif is dominant in Nemanja’s hagiography, still St. Sava transcends the strictly political framework of the reception of the Good Shepherd motif. He presents an expressionistic autobiographical description of the relationship with his father and parallels his father’s journey to Mount Athos to the Johannine Good Shepherd, who is searching for his Lost Son.

Храми Луганщини: історико-культурний контекст і актуальність дослідження

Author(s): Olga Olegivna Smolina / Language(s): Ukrainian Issue: 40/2018

The purpose of the article is to study the degree of research of Orthodox temple architectural complexes on the territory of the modern Lugansk region. The methodology is based on a comparative-analytical approach using the method of systematisation. The scientific novelty of the work lies in the fact that an analysis of the modern scientific literature on the Orthodox churches in Lugansk region was carried out for the first time. Is showed that the available few editions do not allow us to draw a complete picture of the Orthodox church building development in the Lugansk region, of its connection with the regional culture, about artistic and stylistic preferences in the cult architecture and its figurative and aesthetic aspects. Conclusions: it has been established that publications of catalogue type prevail on this topic, which indicates the primary stage of identification and accumulation of material, at the stage of which the process of investigating the temples of Lugansk region is located. Some publications contain erroneous data, which is quite understandable by the disparity of the empirical material and its insufficient research. If, in spite of the fragmentation and disunity of the material in general, the history of some temples of the region is still fixed in scientific publications, reference books, periodicals, but the architectural and stylistic aspect of the Luhansk region temples has practically remained beyond the scope of scientific interest. To preserve the national cultural heritage, historical and cultural studies and art history studies of the Orthodox religious architecture of the Lugansk region are necessary for the entire period of its existence.

Православна духовна музика: історичні та культуротворчі аспекти розвитку

Author(s): Alexander Mykolayovych Antonenko,Margarita Murativna Antonenko / Language(s): Ukrainian Issue: 3/2018

The purpose of the article is historical and cultural and structural analysis of the spiritual music of the Orthodox tradition. The methodology of the study consists in the use of historical and systematic methods that allowed us to consider spiritual music as a significant historical and cultural phenomenon to substantiate its social significance. Scientific novelty consists of conceptual comprehension of religious music of the Orthodox tradition, substantiation of its structure, historical and socio-cultural role. Conclusions. The development of Ukrainian culture cannot be imagined without the temple art of Orthodoxy. Spiritual music, along with architecture and painting, is its most significant component. Religious music, along with architecture and painting, is its most vital component. It embodies the fusion of critical cultural elements - art and religion. The historical development of the spiritual music of the Orthodox tradition is characterized by its gradual secularization and formation, along with liturgical (purely liturgical) - paraliturgical and extraliturgical directions. Each of them is represented by numerous genres and layers of musical works that occupy an essential place in the history of the development of the national musical culture. They are not only cultural values but also a kind of artistic revelation of many generations of the Ukrainian people whose history is closely connected with the Orthodox Church and deeply permeated by it religious influence.

Жіночі персонажі опер М. Мусоргського і М. Римського-Корсакова в контексті православної антропології

Author(s): Tatyana Kaplun / Language(s): Ukrainian Issue: 1/2019

Purpose of the article. The article is devoted to the disclosure of the features of the embodiment of the leading female images in the operatic works of M. Mussorgsky and N. Rimsky-Korsakov, which are revealed in the context of Orthodox anthropology and are related to the problem embodiment of spiritual evolution and involution in Russian music of the second half of the XIX century. The methodology of the study is to apply comparative, historical-cultural, musical-semantic methods, intonation concept of music in the light of the theory of B. Asafiev and his followers. This methodological approach allows us to reveal and analyze the psychological qualities of the main opera heroines of the operas «Khovanshchina» and «Tsar's Bride», recorded in their vocal part in a comparative description. The scientific novelty of the research consists in revealing the spiritual path of the heroines of the operatic compositions of Russian composers in a comparative description of the moral choice of Marfa and Lyubasha in their evolutionary/involuntary movement, which was reflected in the vocal party of the vivid female characters of the Russian opera tradition of the second half of the XIX century. Conclusions. The specific character of the musical embodiment of this moral choice of opera heroines is revealed at the level of the characteristic of the harmonic, intonational-rhythmic side of the vocal parts of Marfa (Khovanshchina) and Lyubasha (Tsar's Bride).

Український іконостас: від функціональної конструкції до архітектурної рами

Author(s): Svitlana Valeriyivna Olianina / Language(s): Ukrainian Issue: 1/2019

The purpose of the article is to determine the process of transformation of the medieval iconostasis with wall-to-wall horizontal beams as main structural/supporting elements to the new type – iconostasis as an architectural frame – which it becomes on the border of the 16–17th century. The research methodology is based on the iconological and comparative methods, which allow identifying the rules of construction, combinations, and relationships between the structural elements of the architectural frame of the XVII century Ukrainian iconostasis, to determine the ideological sources of the formation of such model of the iconostasis and disclose its meanings. The scientific novelty of the work is connected with the expansion of knowledge about the development of the Ukrainian iconostasis. Among the main sources that influenced the formation of the new image of the Ukrainian iconostasis were the Greek tradition of organizing sanctuary barriers and the Latin tradition of framing a religious image. Creating a new concept of the Ukrainian iconostasis at the junction of two traditions was a reaction to the social and political context of the period, which appeared in the Western European art of the Renaissance. Conclusions. Creating a new concept of the Ukrainian iconostasis at the junction of two traditions was a reaction to the social and political context of the period. The introduction to the Ukrainian iconostasis of the frames and its transformation at the beginning of the 17th century in an architectural frame gives the basis to consider this transformation as an ideological project. The new design of the Ukrainian iconostasis, due to the introduction of the blind arcade in the upper tier and the abundant decoration of all surfaces, referred to a similar device of the iconoscopes of the Balkans, and especially the iconostases of Athos. Under the conditions of the establishment of the Greek Catholic Church, such iconostasis construction was a visual marker of the confessional identity of an Orthodox Ukrainian church. At the same time, one of the goals of simultaneously increasing the spatial depth of the iconostasis could be the desire to strengthen the emotional impression of its new architectural image. The use of monumental volumetric structures to influence the consciousness of believers is a technique widely used by the Catholic the art of the time.

Genoontologiczny wymiar chrystianizacji na przykładzie ziem Półwyspu Bałkańskiego

Author(s): Marian Bendza / Language(s): Polish Issue: 12/2018

«Літургійний рух» та його роль у західноєвропейській культурно-історичній та музичній традиції XIX-XX ст

Author(s): Olga Viktorivna Muravskaya / Language(s): Ukrainian Issue: 2/2019

The purpose of the article is to identify the specifics of the "Liturgical movements" of Europe in the XIX – beginning of the XX century in the processes of the rebirth of Byzantine and the prolongation of the Byzantine concept in Western European culture and music. The methodology is based on a set of methods (interdisciplinary, historical-cultural, genetic, genetic, contextual-analytical, hermeneutics, etc.) that identify East Christian (Byzantine) incentives for the development of the European spiritual and artistic tradition of the New Age. The scientific novelty of the work is determined by the fact that it was the first to substantiate the role of the Oxford, Liturgy and related movements in identifying Eastern Christian spiritual and artistic quality that nourished the culture and musical art of European romanticism and modernism. Conclusions. The review of Christian movements of the XIX-XX centuries. (“Liturgical Movement”, Old Catholicism, “Oxford Movement”, ideas of “Western Orthodoxy” by I. Overbeck, etc.) testifies to the intensity of the spiritual and Christian life in Western Europe, as well as to the significant role in the history of the Eastern Christian factor. Their natural consequence was the revival of the pre-Roman Christian rites (Gallic, Celtic, Mozarabic, etc.), which led to the scientific study of the ancient liturgical singing traditions and their specificity. This kind of renaissance of the "theurgic" quality of Christian liturgical practice led to a return to traditionalism in its high spiritual understanding, which affected the specificity of the musical creativity of representatives of this era, in which individualism of the author’s self-expression gives way to the leveling processes of this quality caused by the attraction to the reviving spiritual and musical values of "simple serious singing" and sacred "temple synthesis of the arts."

Кирило-Мефодіївська традиція як епіцентр національних християнських установок Болгарії

Author(s): Liliia Vasylivna Nieicheva / Language(s): Ukrainian Issue: 2/2019

Purpose of the Article: reviewing theological work of Cyril and Methodius and defining foundations of the leadership of the Bulgarian nation in the Slavic areal in mastering Eastern Orthodoxy. The methodological basis of this work is provided by intonation concept of music represented by I. Liashevsky[7], BorisAsafyev’s follower in Ukraine. And also, by theoretical findings of the Bulgarian scholars P.Angelov, Georgi Bakalov and R.Grudev[1; 4], who stressed upon the inalienability of the nation from the religious in art. Scientific novelty: originality of the angle at which theological teachings were studied in generalized information regarding the history of Bulgarian art. Conclusions. The «Solun Brothers» embraced the ideas of early Christianity which did not know schisms and which allowed for a broad tolerance of various Christian denominations. Two lines in Saint Cyril’s theological teaching – intellectualism of missionary work and veneration of martyrdom and feat in the name of Faith – became especially prospective for the Bulgarian statehood and Eastern Orthodoxy. Especially impressive in the history of Bulgaria was the most vividly expressed patriotic combative spirit of Orthodox monasteries, which became outposts of the nation’s resistance to the Ottoman onslaught. This patriotic idea of monastic Service was a doctrine of Bulgarian Orthodoxy’s statehood foundations.

Mitropolitul Nicolae Corneanu

Author(s): Al. Cistelecan,Nicolae Corneanu,Virgil Nemoianu,Monica Pillat-Saulescu,Marius Florescu,Nicolae Balotă,Luminiţa Niculescu,Ion Pop,Mihai Maci,Constantin Nemoianu,Viorica Lascu,Corneliu Mircea,Gabriel Catalan,Cristian Barta,Dănuţ Mănăstireanu,Carol Daniel Sabău,Horațiu Cipleu,Claudiu T. Arieşan,Robert Lazu,Dorin Ștefănescu,Daniela Flavia Perian,Iosif Diac,Aurelian Băcilă,Bogdan Alexandru Duca,Anton Adămuț,Vasile Gorzo,Adrian Măgdici,Alexandru Prelipcean,Carmelia Leonte,Dana Chetrinescu,Ion Buzași,Ovidiu-Marius Bocșa,Marius Cruceru,Alin Tat,Ion Zubașcu / Language(s): Romanian Issue: 11-12/2008

This section of the issue is dedicated to the Romanian Orthodox Mithropolit , Nicolae Corneanu.

Społeczne wymiary ekumenizmu w kontekście kryzysu ekologicznego

Author(s): Franciszek Kampka / Language(s): English,Polish Issue: 19/2019

Kryzys ekologiczny jest przedmiotem troski wszystkich Kościołów chrześcijańskich. Autor omawia wspólne wątki dotyczące klimatu, jakie obecne są w wypowiedziach przywódców religijnych: odpowiedzialność człowieka za degradację środowiska, wezwanie do przeciwstawienia się kulturze chciwości, budowanie sprawiedliwości ekologicznej. Autor przedstawia społeczne skutki kryzysu klimatycznego – nierówności społeczne i ubóstwo oraz omawia nowe formy ekumenizmu praktykowane w społeczeństwie ryzyka. Nowy ekumenizm to nie ruch intelektualny czy dyskusje teologiczne, ale przede wszystkim wspólna praca Kościołów na rzecz ubogich.

Sfințirea Mare a apelor – semn al regenerării cosmice prin Epifania Treimică

Author(s): Petru Buta / Language(s): Romanian Issue: 02/2019

In the liturgical tradition of the Orthodox Church, the great feast of the Epiphany has as main theological focus the Baptism of our Lord Jesus Christ in the Jordan River. The liturgy of the feast and the hymns of the forefeast and of the afterfeast, starting from the text of the Gospel, develop the same theme. The Baptism of the Lord is understood and experienced in the Church as a salvific event, that encompasses not only the humankind but also the entire creation, and reveals the cosmic dimension of the mystery of salvation. The aim of this study is the structural analysis of the ritual of the Great Consecration of the Waters, followed by a concise presentation of the theological meanings of the water consecrated at the Epiphany.

Preacinstirea Născătoarei de Dumnezeu reflectată în imnografia Praznicului Adormirii Maicii Domnului

Author(s): Marius Emilian Făgădaru / Language(s): Romanian Issue: 02/2019

The doctrine about the Holy Virgin Mary forms a substantial and a very important chapter of Christian theology, which has been enriched, analyzed and synthesized, in different contexts, by some Theologians and specialists in Mariology. The figure of the Mother of God is presented in the entire life of the Church, although we are speaking about the internal or the external liturgical service. She has occupied a determinant place in the heart of the believers, in personal piety or godliness, even from her life and especially after Her Assumption. This article tries to analyze the elements of the hymnography from this feast of the Assumption of Virgin Mary, to demonstrate the significance of this Holy feast and also the importance of the person of Holy Mother of God in the liturgical and sacramental life of the Orthodox Church.

Catehezele Sfântului Simeon Noul Teolog – diagnosticarea unei probleme ecleziale

Author(s): Ciprian Ionuț Joița / Language(s): Romanian Issue: 02/2019

Saint Simeon The New Theologian is known in the Orthodox theology and beyond by his insistence and clarity with which he wishes to debate and analyse problems of the spiritual Christian life, often overlooked by the previous theologians or perhaps entrusted by them to a discretion of alloing each person to respond only in front of its own conscience. In his striking words, St. Simeon first unveils the serious problems of assuming, living and understanding the biblical teachings in the Constantinopolitan society of his time, problems that were the triggering factors of his spiritual discourse of that period, but which reflect so many human weaknesses present among believers all the time, up to our time. By this the article tries to emphasize the importance of his teachings for current Orthdox Theology.

Sowing the Seeds of Hate - The Antisemitism of the Orthodox Church in the Interwar Period

Author(s): Ionuț Biliuță / Language(s): English Issue: 1/2016

The present article is focused on the antisemitic mindset of several prominent Orthodox clergymen and theologians associated with the Romanian Iron Guard and the radicalization of Orthodox nationalism under the impact of fascism. During a wave of right-wing ideological radicalization, Orthodox clergymen and theologians shifted from understanding the Jew according to the patristic theology and canon law to a more confessional, exclusivist trend of theology. It also discusses the Romanian Orthodox Church’s position towards the development of an antisemitic theology and the implementation of this theology during the Holocaust by the Orthodox priests affiliated with the Romanian Orthodox Exarchate in Transnistria.

PREZENTĂRI BIBLIOGRAFICE

Author(s): Marius Florescu,Constantin Cilibia / Language(s): Romanian Issue: 10-12/2019

Rumanian Slavia as the Frontier of Orthodoxy. The Case of the Slavo-Rumanian Tetraevangelion of Sibiu

Author(s): Giuseppe Stabile / Language(s): English Issue: 9/2019

At least from the 14th to the 17th c. – beyond their Middle Ages until their Early Modern Ages – the Rumanians belonged to the so-called Slavia Orthodoxa. Besides the Orthodox faith, they had in common with the Orthodox Slavs the Cyrillic alphabet until the 19th c. and the Church Slavonic, which was the language of the Church, of the Chancery and of the written culture, until the 17th c., although with an increasing competition of the Rumanian volgare. The crisis and decline of the Rumanian Slavonism, the rise of the local vernacular, have been related with Heterodox influences penetrated in Banat and Transylvania. Actually, the first Rumanian translations of the Holy Scriptures, in the 16th c., were promoted, if not confessionally inspired, by the Lutheran Reformation recently transplanted in Banat and Transylvania (some scholars incline to a [widely] Hussite origin of these early translations). Not only Banat and Transylvania, but also Moldavia and Wallachia (the Principalities) were crossed by the border between the Latin and the Byzantino-Slavonic world, the Slavia and the Romania. Influences from the whole Slavia – the Orthodox and the Latin Slavia, the Southern, the Eastern and the Western one – met in the Carpatho-Danubian Space describing what will be derogatively called Slavia Valachica (i.e. Rumanian): a kaleidoscope of Slavic influences in Romance milieu. The appearance of Slavo-Rumanian texts, either with alternate or parallel Church Slavonic and Rumanian, revealed that in the middle of the 16th c. the decline of Slavonism had already started. Mostly but not only in the western regions, beyond the Carpathians, which were under Latin rule, the Orthodox (“Schismatic”) clergy was less and less confident with the Slavonic. This last still remained the sacred language though largely unintelligible, whilst the vernacular still lacked sacred dignity, besides being suspect to spread Heterodoxy. The Slavo-Rumanian Tetraevangelion of Sibiu (1551–1553) is the oldest version of a biblical text in Slavonic and Rumanian and contains the oldest surviving printed text in Rumanian. Apart from evoking icastically – by its twocolumns a fronte layout – the Slavic-Rumanian linguistic border, this fragment of a Four-Gospels Book (Mt 3, 17 – 27, 55) can be considered in many senses a border text: geographically (the border between East and West), chronologically (the decline of Slavonism and the rise of the Rumanian Vernacular), culturally and confessionally (the border between the Latin [i.e. Catholic then Protestant too] West and the Byzantino-Slavonic East). This paper aims to reconstruct, as far as possible, the complex milieu in which the Tetraevangelion was translated, (maybe) redacted and printed, focusing on the Slavonisms in its Rumanian text. A special attention will be paid to any possible interaction between that mainly Latin (Lutheran-Saxon) milieu and the Rumanian Slavonism.

Istoria, organizarea, muzeul și arhiva Protopopiatului Ortodox Săliște (1628-1989)

Author(s): Mircea-Gheorghe Abrudan / Language(s): Romanian Issue: LIX/Sup/2020

The Romanian Orthodox Church in Transylvania, as well as the other Transylvanian historical churches, is the creator and keeper of an architectural, artistic, archival-documentary and bibliophile priceless heritage. If the architectural-artistic one is more visible and appreciated, the archival-documentary one is still not known and valued through conferences, exhibitions and in the historiography, as it should be. Our study is dedicated to one of the regional administrative structures of the Orthodox Church in Transylvania, presenting, firstly, the historical and organizational evolution of the Săliște deanery, and in the second part, the history, organization and content of the parish and deanery museum and archive. The Săliște Orthodox Deanery was certified in the 17th century, being formed by the parishes of the Săliște Chair and then by the Saxon Chair of Sibiu. In the 18th century, Săliștea was one of the centers of orthodox resistance in the face of the forced imposition of uniatism with the Church of Rome. Between 1805-1884 the seat of the deanery was in the town of Sibiu, therefore the deanery was oficialy called Sibiu II and was led by priests with higher studies of theology, history, pedagogy and philosophy at the Universities of Vienna, Leipzig and Budapest. They have taken great care for the patrimony and memory of the parish and the Săliște deanery, so one of the richest Orthodox deanery archives in Transylvania is preserved here. The archive and the Săliște parochial Museum represents a place of memory that testifies the rich history of spirituality, traditions, culture, art, commerce, personalities and Romanian life in the Sibiu area.

PREZENTĂRI BIBLIOGRAFICE

Author(s): Sorin Cosma,Vasile Muntean,Vasile Rojneac,Cristian Băleanu / Language(s): Romanian Issue: 01-03/2020

Familia și căsătoria în societatea bizantină. Perspective legislative și istorice sumare din primul mileniu creștin

Author(s): Claudiu Țârulescu / Language(s): Romanian Issue: 1-3/2019

The purpose of this article is to analyse the family and marriage in the Byzantium of the first Christian millennium, both from the perspective of civil law and ecclesiastical canons. In order to achieve this, the main sources and collections of Byzantine laws from that period were analysed, as well as the Orthodox canons of the Holy Fathers which had as a central topic the marriage and the family. By examining these resources and tracking the evolution of civil law, the article reveals the importance of the teaching of the Orthodox Church, which has imposed its mark on the life of Byzantine society, by promoting the sanctity of Christian marriage and woman’s importance in society, but also the efforts of Byzantine emperors in this direction, by promulgating laws, which are in conformity with the ecclesiastical teaching. Until these facts happened, the society disregarded the woman and her rights and the act of marriage as well.