Fedor Veselov

Аннотация. Сюжет укрощения Буцефала-один из самых популярных, связанных с Александром Великим в текстах и изобразительном искусстве Евразии. Сравнение иконографии коня в древнерусских списках романа Псевдо-Каллисфена об Александре с южнославянскими и греческими манускриптами показывает, что образ Буцефала развивался не только в прямой связи с текстом «Александрии» или устоявшимися изобразительными традициями, но испытывал на себе влияние культурных переживаний и меняющейся государственной эмблематики Московского царства XVI-XVII вв.

Starting from Nikolai Karamzin, the earliest reports preserved in the three oldest Rus’ chronicles were the basis for the reconstruction of the events of Batu’s invasion of Rus’. However, textual analysis shows a high level of literary borrowings in these chronicle texts, originating from the Byzantine historical writings and the Holy Scripture. As a result, the quality of these accounts as historical sources is undermined. The purpose of the article is to determine the functions of the identified quotations and paraphrases, the existence of links between their content and the data that is provided by parallel written sources and archaeological studies. As we found out, there seem to be some real details of the Mongol conquest behind these accounts in the chronicles, and the use of suitable excerpts from historical and sacred books was a method to describe this reality, which is based on the principles of the universal medieval ideas of the historical process inherited by Rus’ from Byzantium.

The Tale of the Galician-Volhynian chronicle about the capture of Kyiv by Batu in 1240 has attracted historians for centuries with its detailed descriptions, firmly occupying the niche of the main source for the reconstruction of this event. In parallel, it was found that many of the details of the Tale are based on borrowings from Byzantine literature. The purpose of the article is to show that the noted features of the work of the Old Russian chronicler resulted from the significance of Kyiv for contemporaries as the sacred center of the "Russian land", and the literary parallels of the Tale do not deprive it of the properties of a historical source.

The article deals with the medieval book miniatures illustrating the invasion of Batu’s armies in Europe in 1236–1242. Bearing in mind the postulated high symbolism of Medieval fine art, the author is interested in the figurative code of miniatures, in which the attitude of Europeans
to the Mongol conquerors should be encoded. The author investigates miniatures of historical manuscripts created in three regions of Europe. The earliest manuscript is the 13th century “Chronica Majora” executed by Matthew Paris. Created in England, where the Mongols were known only by rumors, it reflects the impression of a contemporary of the invasion. Hungarian “Chronica Picta”, illuminated copies of the Silesian Life of St. Hedwig, woodcuts illustrating the “Carmen Miserabile” by Master Rogerius, although created later, should convey the bitterness of
the witnesses of the invasion, reflected in the texts repeatedly rewritten. Finally, the most recent miniatures included in the Illuminated Chronicle of the 16th century, originate from the Old Rus’, which suffered most of all from the invasion and for a long time was included in close relations
with the Golden Horde, which also could not fail to find expression in the pictorial work of book miniature painters. However, despite the fact that, at first glance, mentioned three traditions are not genetically related to each other in any way, they demonstrate the same patterns of  development. Thus, the article undertakes a study of sources created from the middle of the 13th to the 16th centuries, in a wide geographical area of Europe and Orthodox Russia.

В статье уточняются авторство и история рукописного сборника XVII в., хранящегося в РНБ, собр. Ю.А. Яворского, № 41. Рукопись представляет значительный интерес для истории литературы Древней Руси: тексты, составляющие сборник, Сербская Александрия, компилятивное Сказание о царевиче Дмитрии и «Повести како отомсти», были подвергнуты редакторской правке неизвестным писцом, посвятившим часть рукописи своему сыну Льву. Обнаружение неизвестной исследователям древнерусской литературы поздней копии этого памятника в собрании РГБ, его палеографическое и текстологическое исследования, позволили дополнить утраченные места протографа, уточнить его историю, определить создателя оригинального сборника - дьякона Козьму Трофимова.

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.

In the paper, the author deals with two originally Russian handwritten copies of the “Serbian Alexandria”. One of the manuscripts of illuminated “Serbian Alexandria” stored in the collection of the Chester Beatty  Library, Dublin (W.151) is recently introduced into the academic use. The Dublin copy refers to the group of illuminated copies of Alexandria, the text of which is of the Barsov type, according to E. I. Vaneeva’s classification, while the monument itself — one of the oldest surviving. Therefore, the author involves in the work a non-illuminated copy from the Russian National Library, coll. of Yu. Yavorsky, No. 41, which includes the already edited text of Barsov type; it means that its dating will be the terminus ante quem for the emergence of the text. The literature gives two different dating of the manuscript, which predetermines the need for its careful study. Careful work with the monument from the Yavorsky’s collection makes it possible not only to solve the problem of its dating, but also reveals a number of features that suggest that the compiler of the part containing Alexandria worked with the Barsov type manuscript, and it was already the illuminated one.

Summary: Kulikovskaya battle was one of the most reflective events in the An-cient Russian art and culture. Against this background illuminated manuscripts concerning the battle seems to be interesting, especially one from the British li-brary not far ago introduced for the scholar use. The importance of this copy of the Tale of the Mamai Route is encased in its illustrations, despite its no doubt production in the XVII century, their composition and great amount of details suggest that this manuscript is a copy of protograph of XV-XVI сentury, or even of the very first illuminated scripture of the artifact. That particular problem is observed in this article, in which author as far as possible tries to examine charac-teristics of the illustrations, from the techniques of their production to depicted details, which could confirm or dispel the possibility of the connections of this copy with the earliest protographes of the Tale of the Mamai Route.
Keywords: illuminated manuscripts, miniature-paintings, tale, Kulikovskaya battle.

Summary: This article examines the evolution of the Kulikovo battle’s images on miniatures of the Russian illuminated
manuscripts during XVI—XVIII centuries.
Keywords: Battle of Kulikovo; illuminated manuscripts; Legend on the Mamay slaughter.

The article presents a comparative analysis of ancient Rus lead seals with images of the Savior found in Novgorod (1968) and Polotsk (2015). The author proves that the Novgorod seal belonged to Princess Euphrosyne of Galician and the Polotsk seal to Princess-nun Euphrosyne of Polotsk.

Авторское резюме Рассматриваются связи русского средневекового книжного искусства с искусст-вом южнославянским, проникавшим на Русь из Болгарии, Сербии, Македонии через Валахию и Молдавию. Несмотря на влияние южнославянской литературы еще на заре русской книжности, в связи с принятием христианства, на отдельные эпизоды до монгольского завоевания, основной акцент делается на периоде, который начи-нается с конца XIV в. и связан с завоеванием османами территорий Византийской империи и Балканского полуострова, которое привело к эмиграции части предста-вителей интеллектуальной и художественной элиты южных славян на север – в Мол-давию, Валахию, Южную и Северную Русь. И не только творчество самих книжников и иконописцев, но и принесенные ими произведения активно воздействовали и на культуру книжного оформления, и на развитие новых жанров литературы вплоть до начала XVII в. Ключевые слова: древнерусское искусство, южнославянское искусство, искусст-во рукописной книги.

Материалом для данной статьи послужили батальные циклы миниатюр из Лицевого лето-писного свода Ивана Грозного, посвященные Невской битве, Ледовому побоищу и Куликовско-му сражению. Автор последовательно проводит анализ как общей композиции циклов иллюст-раций, так и их составных частей, посвященных не только самим сражениям, но и событиям их предваряющим и следующим за ними, кроме того, сравниваются общий характер миниатюр, изображенные на них детали одежд и вооружения, характер изображения главных и второсте-пенных действующих лиц, анализируются особенности природного и архитектурного пейза-жей, что позволяет установить определенную семантику рассмотренных миниатюр и их циклов. Библиогр. 13 назв. Ключевые слова: Лицевой летописный свод Ивана Грозного, лицевые рукописи Куликов-ского цикла, Житие Александра Невского.