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The Term of Pokrov
The Term of Pokrov
Ekaterina DikovaThe article studies the origin and meaning of the term Pokrov Bogorodichen (rendered in English usually as Intercession/ Protection/ Care of Virgin Mary) as well as its translations in other European languages. It seeks to answer the following questions: What exactly is celebrated on the feast of Pokrov? Since when has it been commemorated? What are the sources related to it? How should it be translated into English and other Western European languages?
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"Part One: Byzantino-Slavica 1 1.1. Introduction 1 1.2. The Theoretical Impossibility of the “Russian” Approach 3 1.3. Wortley’s Hypothesis 5 1.4. The Christian Community in Kiev in the Time of Patriarch Euthymius 5 1.5. A South Slavic Alternative 6 1.6. The Original Meaning of the Feast of Pokrov According to Pachomius Logothetos 7 1.7. BHG 1136d: a Greek Homily on Pokrov 8 1.7.1. The Greek Original and Its Pseudepigraphic Authorship 9 1.7.2. Liturgical Setting and Contents: Pokrov Vigil 9 1.7.3. Author: Patriarch Euthymius 11 1.8. The Prolog sermon on Pokrov 11 1.8.1. Contents 12 1.8.2. Relation to the Life of Andrew the Salos 13 1.8.3. Author 14 1.9. Conclusion to the Byzantino-Russian Dossier 14 Part Two: Armeno-Byzantina 15 2.1. Introduction 15 2.2. The Discovery of the Relics of St Gregory during the Patriarchate of Photius 16 2.2.1. Historical Context 16 2.2.2. Precise Place: τὰ Καριανοῦ monastery near Blachernae 17 Note 1: van Esbroeck’s identification of the monastery τὰ Καριανοῦ with the monastery of Staurakios 19 2.2.3. Date: between 862 and 867 19 2.2.4. The Date of the Liturgical Commemoration 20 2.3. Gregory the Illuminator and Isaac the Parthian as the Saints of the Macedonian Dynasty 23 2.3.1. Isaac the Parthian in Photius’ Cult of St Gregory the Illuminator 23 2.3.2. St Gregory the Illuminator in the Cult of St Patriarch Stephen 25 2.3.3. The Cult of St Gregory the Illuminator under Patriarch Nicholas Mystikos 27 2.3.4. An Alternative to the Vision of St Sahak: the Apocalypse of Andrew the Salos 27 2.4. The Veneration of “Pokrov” before the Feast of Pokrov 29 2.4.1. Photius, 860: the Discovery of “Pokrov” 29 2.4.2. When “Pokrov” Becomes “Omophorion/Maphorion” 31 2.4.3. A Secondary “Pokrov” Cult: The Maphorion of St Theophano 32 2.4.4. How “Pokrov” Becomes “Omophorion/Maphorion” 34 2.4.5. The Bishop’s “Maphorion” of St Gregory the Illuminator 35 2.4.6. Why “Pokrov” Becomes “Omophorion/Maphorion” 36 2.5. Conclusion to the Armeno-Byzantine Dossier 37 Note 2: A Tentative Reconstruction of a Liturgical Cycle Possibly Related to the Vision of St Andrew within the Life of Andrew the Salos 38 Part Three: the Feast of Pokrov within the Cycle of St Gregory the Illuminator 39 3.1. The Marian Relics and the Wives of Leo the Wise 39 3.2. The Symbolic Nature of the Date 1 October 41 3.3. The Autumn Commemorations of St Gregory the Illuminator and His Companions in Constantinople 42 3.4. The Choice of 1 October for the Pokrov Feast 43 Excursus: St Gregory the Illuminator’s Feast on 30 September 44 1. Peeters’ Hypothesis 44 2. The Dormition of the Theotokos and the Dedication of the Cathedral of Etchmiadzin 46 3. The Dates of the Baptism of Armenia in the Agathangelos 47 4. Two Remnants of Earlier Commemorations of St Gregory: 20 Sahmi and 20 Hoṙi 47 5. The Pentecost after the Dormition of the Theotokos 48 6. The New Year on 1 Navasard and the Dormition of the Theotokos 49 "
2021 •
This paper focuses on the representation of St Jerome in the Zadar Polyptych, painted by Vittore Carpaccio around 1496 and commissioned by Martin Mladošić. Approaching it as a commission and offering made by a pious canon of Zadar’s cathedral church, the scene has been analyzed in the context of spiritual changes that occurred during this period, through the prism of personal and Christocentric piety. This paper brings new interpretations of the depiction, seeing it as an expression of the commissioner’s meditative vision, to whom the saint served as a model of pious Chris- tian life and the embodiment of the imitatio Christi ideal. Even though St Jerome was already venerated as a patron saint of Dalmatia, this paper underlines the self-identification of the Zadar canon with the saint, expressed through moral and spiritual virtues, as the main motivation behind the commission. Interpreting the work as an expression of the popular Renaissance cult of St Jerome during the Late Middle Ages and the beginning of the Early Modern Period, it emphasizes the involvement of Zadar’s cultural circle in the pan-European spiritual, artistic, intellectual, and cultural currents of the era. Ovaj rad se bavi poznatim djelom renesansnog slikarstva, Zadarskim poliptihom kojeg je venecijanski slikar Vittore Carpaccio naslikao oko 1496. godine za kanonika zadarske katedrale, Martina Mladošića. U dosadašnjoj literaturi, poliptih je razmatran uveliko, pretežno u kontekstu razvoja Carpacciovog slikarstva. Ovaj rad djelu pristupa iz druge perspektive, stavljajući naglasak na samog naručitelja, kojeg je Carpaccio i ovjekovječio portretirajući ga na središnjem panelu gornjeg registra, u društvu sv. Jeronima. Upravo je ovaj prikaz u fokusu ove rasprave. Pristupajući mu kao narudžbi i zavjetu pobožnog kanonika, prikaz se analizira u kontekstu duhovnih promjena tog vremena, kroz prizmu osobne, ali i popularne kristocentrične pobožnosti. Prikaz se tumači kao likovni izraz naručiteljeve meditativne vizije, kojem je svetac služio kao uzor pobožnog kršćanskog života i utjelovljenje ideala imitatio Christi, te se poistovjećivanje sa svecem kroz moralne i duhovne vrline ističe kao glavni razlog narudžbe. Tumačenjem djela kao izraza popularnog renesansnog kulta sv. Jeronima tijekom kasnog srednjeg i početkom ranog novog vijeka, naglašava se uključenost zadarskog kulturnog kruga u paneuropska duhovna, umjetnička, intelektualna i kulturna strujanja onog vremena.
2019 •
Both texts were created during pivotal moments of Slovene history: Prešeren’s poem at a time of German political, economic, and cultural supremacy and newly emerging demands for a united Slovenia, and Bevk’s during the time of Italian fascism and the occupation of the Slovene Primorska region. At first glance, Prešeren’s poetry of high Romanticism and Bevk’s supposedly trivial work have nothing in common apart from the topic of paganism and Christianity. However, they both convey a hidden message that could not be stated outright due to the censorship policies of the authorities at the time, to condemnation of aggressive foreign rulers, to appeals to national unity, to heightened patriotic consciousness, and to a relationship with nature that establishes the here and now as the highest value, and not the hereafter. The comparison and interpretation presented here sees in Bevk’s work a direct connection to Prešeren’s poem, its thematic continuation, temporal adaptation, and interpretation.
Quarterly Journal Fides et Ratio
Ways of shaping love for God and people and historical memory during the Year of St. Stanislaus Kostka2022 •
The aim of the article is to show the many various ways in which the Year of St. Stanislaus Kostka, announced in 2018 on the occasion of the 450 th anniversary of his death, was celebrated, and how were the ways of shaping love for God and people during that time. The article presents a review of the most important facts about the main jubilee celebrations in Poland and abroad which were also possibilities to build the historical memory. The year of St. Stanislaus Kostka was part of a long tradition of celebrations marking the anniversaries of this patron saint of Poland, held since the year of his beatification (1602/1605), and more solemnly since his canonization in 1726. The text discusses the worldwide and nationwide events commemorating the Saint of Rostkowo, and presents the main publications and conferences devoted to this saint. It also mentions the exhibitions and various pastoral initiatives taken during the year. Particular attention has been paid to celebrations in the Diocese of Płock, where Rostkowo, the birthplace of St. Stanislaus Kostka, is located. On this basis, the pertinence of the saint' s message has been discussed as well.
In this paper I am studying various discourses on the burial, reburial and spread of St. John Vladimir’s relics, as revealed in the saint’s two vitae and in the material culture associated with the veneration of the saint’s relics. Considering each of these texts referring to the aforementioned events as discursive representation of their historical and political frame, regardless of their historicity, I am approaching them with the Critical Discourse Analysis method (CDA). This method interweaves three forms of analysis: text analysis, analysis of the discourse practice (text production process, its spread and uses) and analysis of events or rituals with cultural and political content linked with the text. [Fairclough 1995, 2001] Furthermore, this method researches the cultural and political effects of various texts on the burial, riburials and spread of St. John Vladimir’s relics, broadly relying on an adaptation of the Katherine Verdery’s research design in her seminal word The Political Life of Dead Bodies. Reburial and Postsocialist Change. Texts on the translations of St. John Vladimir’s relics [Slide 1] belong to a genre of texts dedicated to important persons or princely saints and their relics’ translations. Practices and discourses related to the burial and reburial of important persons have appeared since antiquity, with the translation of Theseus’ relics from the island of Skyros to Athens [Castriota 7]. Sophocles in his well-known tragedy Oedipus at Colonus describes the contest between Athens and Thebes over Oedipus, whose residence and burial in either city would make it rich, after a legend. St. Francis of Assizi is another interesting case of contest over relics, his remains being carted at various religious centres hoping to benefit from them. After all, stealing holy relics was big business throughout middle ages [Verdery 1], when such practices and discourses become considerably widespread in the Slavic world, too, as for example in the case of Sts. Boris and Gleb, the brothers of the Prince of Kiev, or in the case of St. Igor Olegovich, whose relics were transferred from Kiev to Chernigov, his birthplace. This paper discusses: First, the burial and texts on the burial of St. John Vladimir in the church of Prečista Krajinska, after certain authors, or in the monastery of St. John Vladimir at Shijon, Elbasan, after others. Second, the supposed 1215 translation of the saint’s relics to Durrës by Despot Michael I of Epiros and the third (supposed) translation of the relics to the saint’s monastery at Shijon, Elbasan, before 1380. During Albania’s communist regime the relics of St. John Vladimir were transferred (for a fourth time) at the cathedral of the Dormition of the Virgin in the Castle of Elbasan, while, after communism, his relics were translated to Tirana, where they are kept to date. At an unknown period, certainly before 1768, parts of the saint’s relics were placed in separate reliquaries. This paper discusses the political significance of these translations.
De musica disserenda
Pes Pavlova in liturgija: Poslušanje in prepoznavanje v gregorijanskem koralu2013 •
2015 •
The parchment manuscript codex No. 11 from the collection of the Russian Monastery of St. Panteleimon on Mount Athos (Panteleimon 11) dates back to the third and fourth decades of the 14th century. It is a Serbian menaion for the months December-February and it has not been preserved in its entirety. It contains two services dedicated to the first Serbian saints – Saint Simeon the Myroblite (the founder of the Nemanjić dynasty) and Saint Sava (the founder of the autocephalous Serbian Orthodox Church and its first archbishop). The services to the holy Serbs in the Panteleimon 11 show some common characteristics, but also significant differences. Both services are "dependent", joint (a foreign and a domestic saint together), which points to a relatively early stage in the formation of a cult of the personality that is being venerated. However, these early stages are not the same in both services. The intertwining of the canons and certain segments, as well as putting the local saint to the forefront - in the Service dedicated to St. Sava, on one hand, and, on the other, completely separate and successive units, i.e., the canons in the Service to St. Simeon that are not intertwined, seem to indicate a different degree of independence of the "pamyat" recorded in the protographs from which the template (“izvod”) of the St. Panteleimon menaion originates.
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