The history of the Kyiv Psalter is clarified by the owner's and other memorable records available in the manuscript, as well as by numerous, although not always reliable, information about it in the printed literature XIX- the beginning of the XX century. Its history begins to be traced from the moment Avram Ezofovich Glembitsky donated it to the St. Nicholas Church of the city of Vilna, where it was kept constantly throughout the 16th-18th centuries.
In 1827, the post of rector of the Vilna St. Nicholas Church was received by M. K. Bobrovsky, who, being a professor of Holy Scripture and hermeneutics at Vilna University, regularly took parchment home for study and storage. From the end of the 20s of the 19th century, the Kiev Psalter was constantly at the home of M. K. Bobrovsky. After the Polish uprising of 1831, the Vilna University was closed by order of the tsarist government, and M.K. Bobrovsky was offered the position of rector of the Shereshevsky parish in the Pruzhany district of the Grodno province, he, leaving Vilna, did not return the manuscript to St. Nicholas Church. Thus, M. K. Bobrovsky became the first private owner of the Kyiv Psalter.
The next owner was V. Trembitsky, who bought the manuscript from M. K. Bobrovsky. But he became a full-fledged owner only in 1848, after the death of M.K. Bobrovsky. The new owner owned it for a short time and in 1861 he died himself. Further, the history of the ownership of the Kyiv Psalter is a bit confused and uncertain. Presumably, the heirs of V. Trembitsky sold it. But in 1874 it was believed that it was in the hands of Count A. S. Zamoysky (1800-1874). Nothing is known about the attitude of A. S. Zamoysky to the unique Slavic manuscript that ended up in his collection, as well as about the circumstances under which the transfer of the Kiev Psalter from the Zamoysky library in Warsaw to the collection of its new owner, Prince P. P. Vyazemsky (1820-1888). Further, Count S. D. Sheremetyev (1844-1918) buys from Vyazemsky the entire manuscript collection (about 500 manuscripts), which he presented as a gift to the Society of Lovers of Ancient Literature in 1881.
The Kiev Psalter entered the Leningrad Public Library together with the entire collection of the Society of Lovers of Ancient Literature in 1932.
In 1963, the Kiev Psalter was restored on the model of the restoration of the Ostromir Gospel, which had been carried out several years earlier. It was embroidered into separate notebooks, the parchment was cleaned of dust, dirt and wax stains, the warped sheets were straightened by moistening them with distilled water and keeping them under pressure, small lost parts of the parchment were filled with new fragments. Since chemical reagents were not used during the restoration process, the ink with which the text of the Psalter was written retained all shades, and the colors of the miniatures retained their former brightness and freshness.
Currently, it is stored in the Russian National Library in the collection of manuscripts of the Society of Lovers of Ancient Literature and Art, without binding in the form of separate notebooks.
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From Wikipedia, the free encyclopedia
The text is written in a liturgical charter. The manuscript is decorated with miniatures in the margins.
Story
The history of the Kyiv Psalter is clarified by the owner's and other memorabilia in the manuscript, as well as by numerous, although not always reliable, information about it in the printed literature of the 19th - early 20th centuries. Its history begins to be traced from the moment Avram Ezofovich Glembitsky donated it to the St. Nicholas Church of the city of Vilna, where it was kept constantly throughout the 16th-18th centuries.
In 1827, the post of rector of the Vilna St. Nicholas Church was received by M. K. Bobrovsky, who, being a professor of Holy Scripture and hermeneutics at Vilna University, regularly took parchment home for study and storage. From the end of the 20s of the 19th century, the Kiev Psalter was constantly at the home of M. K. Bobrovsky. After the Polish uprising of 1831, the Vilna University was closed by order of the tsarist government, and M.K. Bobrovsky was offered the position of rector of the Shereshevsky parish in the Pruzhany district of the Grodno province, he, leaving Vilna, did not return the manuscript to St. Nicholas Church. Thus, M. K. Bobrovsky became the first private owner of the Kyiv Psalter.
The next owner was V. Trembitsky, who bought the manuscript from M. K. Bobrovsky. But he became a full-fledged owner only in 1848, after the death of M.K. Bobrovsky. The new owner owned it for a short time and in 1861 he died himself. Further, the history of the ownership of the Kyiv Psalter is a bit confused and uncertain. Presumably, the heirs of V. Trembitsky sold it. But in 1874 it was believed that it was in the hands of Count A. S. Zamoysky (1800-1874). Nothing is known about the attitude of A. S. Zamoysky to the unique Slavic manuscript that ended up in his collection, as well as about the circumstances under which the transfer of the Kiev Psalter from the Zamoysky library in Warsaw to the collection of its new owner, Prince P. P. Vyazemsky (1820-1888). Further, Count S. D. Sheremetyev (1844-1918) buys from Vyazemsky the entire manuscript collection (about 500 manuscripts), which he presented as a gift to the Society of Lovers of Ancient Literature in 1881.
The Kiev Psalter entered the Leningrad Public Library together with the entire collection of the Society of Lovers of Ancient Literature in 1932.
In 1963, the Kiev Psalter was restored on the model of the restoration of the Ostromir Gospel, which had been carried out several years earlier. It was embroidered into separate notebooks, the parchment was cleaned of dust, dirt and wax stains, the warped sheets were straightened by moistening them with distilled water and keeping them under pressure, small lost parts of the parchment were filled with new fragments. Since chemical reagents were not used during the restoration process, the ink with which the text of the Psalter was written retained all shades, and the colors of the miniatures retained their former brightness and freshness.
Currently, it is stored in the Russian National Library in the collection of manuscripts of the Society of Lovers of Ancient Literature and Art, without binding in the form of separate notebooks.
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Literature
- Vzdornov G.I. Kyiv Psalter of 1397. Research on the Kyiv Psalter: In 2 volumes / G. I. Vzdornov. - M .: Art, 1978. - 634 p. - 25,000 copies.(in lane, superregional)
- Lifshits A. L. On one graphic feature of the Kyiv Psalter of 1397 // Ancient Russian Art. Sergius of Radonezh and the artistic culture of Moscow in the 14th-15th centuries. - St. Petersburg. : Dmitry Bulanin, 1998. - S. 338-341.(in trans.)
Links
- . . - scanned book in the Presidential Library.
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An excerpt characterizing the Kyiv Psalter
kings, aristocrats, philosophersfamilies and scientists...
– Do you remember, Isidora, I told you that Jesus Radomir never had anything in common with that false teaching about which the Christian church cries? It was completely opposite to what Jesus himself taught, and after that, Magdalene. They taught people real KNOWLEDGE, taught what we taught them here in Meteor...
And Mary knew even more, since she could freely draw her knowledge from the wide expanses of the Cosmos after she left us. They lived closely surrounded by Veduns and gifted people, whom people later renamed "apostles" ... in the notorious "bible" they turned out to be old, incredulous Jews ... who, I think, if they could, would really betray Jesus a thousand times. His "apostles" in reality were the Knights of the Temple, not only built by human hands, but created by the high thought of Radomir himself - the Spiritual Temple of Truth and Knowledge. At first there were only nine of these knights, and they gathered together in order to, by virtue of their capabilities, protect Radomir and Magdalena in that foreign and dangerous country for them, into which fate had so ruthlessly thrown them. And the task of the Knights of the Temple was also to (should something irreparable happen!) save the TRUTH, which these two wonderful, bright people who gave their Gift and their pure Lives for peace on their beloved, carried to the “lost” Jews with their “soul”, but still a very cruel planet...
– So the “apostles” were also completely different?! What were they? Can you tell me about them, Sever?
I was so interested that for a short moment I even managed to “lull” my torment and fears, I managed to forget the coming pain for a moment! So much I wanted to know real story these courageous people, not vulgarized by a long five hundred years of lies!!!
- Oh, they were truly wonderful people - the Knights of the Temple - Isidore! .. Together with Radomir and Magdalena, they created a magnificent backbone of COURAGE, HONOR and FAITH, on which the bright TEACHING was built, left once by our ancestors to save our native Earth. Two of the Knights of the Temple were our students, as well as hereditary warriors from the oldest European aristocratic families. They became our brave and gifted Veduns, ready to do anything to save Jesus and Magdalene. Four were the descendants of the Rus-Merovingians, who also had a great Gift, like all their distant ancestors - the kings of Thrace ... Like Magdalene herself, also born of this extraordinary dynasty, and proudly carrying her family Gift. Two were our Magi, who voluntarily left Meteora to protect their beloved Disciple, Jesus Radomir, who was going to his own death. They could not betray Radomir in their souls, and even knowing what awaited him, they followed him without regrets. Well, the last, ninth of the knights-defenders, which no one still knows and writes about, was the brother of Christ himself, the son of the White Magus - Radan (Ra - given, given by Ra) ... It was he who managed save the son of Radomir after his death. But, protecting him, unfortunately, he died himself ...
- Tell me, Sever, does this have anything to do with the legend of the twins, which says that Christ had a twin brother? I read about it in our library and always wanted to know if it was true, or just another lie of the “holy fathers”?
– No, Isidora, Radan was not Radomir's twin. This would be an undesirable additional danger to the already complicated life of Christ and the Magdalene. You know, don't you, that twins are too closely linked by the thread of their birth, and the danger to the life of one can become a danger to the other? I nodded. “Therefore, the Magi could not possibly have made such a mistake.
– So, after all, not everyone in Meteor betrayed Jesus?! I exclaimed happily. - Didn't everyone calmly watch how he went to his death? ..
- Well, of course not, Isidora! .. We would all leave to protect him. Yes, not everyone managed to step over their Duty ... I know that you do not believe me, but we all loved him very much ... and, of course, Magdalene. It's just that not everyone could forget their duties and give up everything because of one person, no matter how special he was. You're giving your life to save many, aren't you? So our Magi stayed in Meteora to protect the Sacred Knowledge and teach other gifted ones. Such is life, Isidora... And everyone makes it better, to the best of their ability.
- Tell me, Sever, why do you call the Frankish kings - Russ? Did these peoples have anything in common? As far as I remember, they were always called - Franks?.. And later the beautiful Frankia became France. Is not it?
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Kyiv Psalter- handwritten front book of the end of the 14th century. on large format parchment on 229 sheets; an outstanding monument of calligraphy and painting. Contains the psalms of David, as well as ten songs of praise and prayers from other books of the Bible. Written in 1397 in Kyiv.
The Kiev Psalter was named after the place of creation indicated in the afterword: “In the summer of 6905, this book of David the Tsar was written off by the command of the humble Bishop Michael by the hand of the sinful slave Archdeacon Spiridonius. And written in the city in Kyiv "
The text is written in the liturgical charter. The manuscript is decorated with miniatures in the margins.
Currently, it is stored in the Russian National Library in the collection of manuscripts of the Society of Lovers of Ancient Literature and Art, without binding in the form of separate notebooks.
In 1963, the Kiev Psalter was restored on the model of the restoration of the Ostromir Gospel, which had been carried out several years earlier. It was embroidered into separate notebooks, the parchment was cleaned of dust, dirt and wax stains, the warped sheets were straightened by moistening them with distilled water and keeping them under pressure, small lost parts of the parchment were filled with new fragments. Since chemical reagents were not used during the restoration process, the ink with which the text of the Psalter was written retained all shades, and the colors of the miniatures retained their former brightness and freshness.
Decor
Miniatures are located on the wide margins of the sheet, on the sides of the text. Some of the miniatures contain illustrations of Old Testament events, others give semantic parallels to the text of the psalms, introducing New Testament scenes and figures of characters from church history.
In the Kyiv Psalter, two artistic styles are distinguished. The main master made miniatures in 23 notebooks, and his assistant decorated only 6. In the illustrations created by the chief master, the drawing is always accurate, the figures are elegant, the colors are clean, the gold is polished to a shine, the scribing is thick and dense. In each scene or a single detail, the artistry of the performance is visible; the artist's pen and brush move confidently, freely, easily. Despite the tiny size of the miniatures, the faces are skillfully and subtly painted, depending on the content, the master gives them an expression of prayerful concentration, joy, suffering, stamina, fear, anger, greatness and melancholy. With almost airy touches of the brush, the illuminated parts of the body are outlined with light paint, the shading of the depressions is underlined with dark paint. With two or three quick strokes, the artist paints strands of hair and beard, pupils and whites of the eyes. The images created by him, responding to the task of decorating the codex, at the same time have individual characters, they are characterized by the sharpness of experience, the dynamics of action. The miniatures of another artist are painstakingly painted, but do not differ in brilliance and brilliance. His palette is dull and boring, sonorous tones disappear: blue turns into a watery blue, green is devoid of freshness, red is elegant juiciness, yellow is transparent. The drawing is also noticeably worse. This difference in the quality of the miniatures of the main master and his assistant is striking, first of all, in compositions on the same subject (for example, “The Nativity of Christ”.
The Kiev Psalter stands out against the backdrop of Russian illuminated manuscripts of the late 14th century by the virtuosity of the illustrations. The chief master has a wonderful command of drawing, chooses the most beautiful combinations of colors, uses a purely miniature, calligraphic style; like Byzantine predecessors, he widely uses the method of reducing any object to a single symbol: the sky is depicted as a tiny bluish segment, the city is depicted as a fortress, a forest, grove or desert is in the form of a lone tree, the earth is depicted in the form of a narrow strip of yellowish or emerald -green color (most often the soil and the sky are not depicted at all). Small and as if chiseled heads, elongated bodies, thin hands and feet, elegantly outlined draperies give the figures an accentuated sophisticated look. The folds are brittle; the poses are angular, as if articulated, which is especially noticeable where the content of the psalms required the artist to convey movement. Frequent images of crosses, staves, spears, arrows are given in thin, barely outlined lines; such miniatures seem fragile.
The desire to imagine an ideal world is expressed very strongly, not only in the artistic manner, but also in the plot. Depicting the Gardens of Eden, the artist draws trees with flexible trunks, fluttering strange birds and pacing peacocks with multi-colored tails dragging along the ground. The miniatures consistently combine the graphic style in the interpretation of draperies and in the clear contours of buildings and hills with individual pictorial techniques. In the faces, despite their tiny size, bumps and shadows are skillfully marked with strokes of light paint. This made it possible to achieve great psychological expressiveness in some cases. Expressions of sadness, prayer, ascetic detachment, impulsive joy are well read.
In complex scenes, where the plot unfolds against the backdrop of a natural landscape or architectural structures, image plans alternate thoughtfully. But in general, the illusionistic principle plays a less significant role in the system visual means than color. The palette is fresh, joyful; paints almost never mix, but are given in their pure form: pink, orange, red, purple, lilac, lilac, white, sky blue, blue, malachite green, olive, gray, ocher of all shades - from bright yellow to dark brown, even black. But black is devoid of its inherent gloom; it has a deep velvety tone and does not interfere with the festive character of the illustrations. The color is rarely given open, in the form of a local spot. Figures of people, animals, architectural scenes, rocky hills and trees are covered with light golden shading that dematerializes the form. The thinnest golden lines are applied in parallel, they are used exclusively for decorative purposes. Gold softens the sonority of tones and allows you to achieve harmony in color.
Illustrated Psalters of this type were created in Byzantium already in the 9th century. and became especially refined in the 11th century. The Moscow manuscript reproduces the Byzantine model, but introduces many plot changes in the spirit of the new era, for example, paying increased attention to the figures of monks, since monasticism was highly revered in Russia in the 14th-15th centuries. The main difference between these miniatures is the beauty of silhouettes and rhythm, the expressiveness of smooth movements, calm gestures, quiet prayer poses, graceful buildings and small plants.
The illustrations in the Kyiv Psalter contain many explanatory inscriptions - from short ligature names of Jesus Christ and King David to extensive texts that accompany, for example, a composition on the plot of a parable about the sweetness of this world. Of the 303 miniatures, only 71 have no signatures. Such a number of auxiliary texts is not found in any other manuscript of the 14th century. They are important in order to understand the plots of the illustrations and to explore how these signatures correlated with the text of the psalms, and to find literary sources for a number of rare iconographic solutions, as well as for characterizing the Russian language at the end of the 14th century. All the inscriptions on the margins of the Kyiv Psalter are made in small semi-ustav, a characteristic, easily recognizable letter, originating from the postscripts on the margins of manuscripts and letters of business documents. It arose at the end of the 13th century, but was finally formed during the period of the second South Slavic influence, when its specific features also developed: the use of a large number of ligatures, imitation of Greek letters, the presence of superscripts, ornamentation, deliberately unequal spelling of the same letters; this letter is also distinguished by special spelling and punctuation.
Book miniature of Russia. Kiev Psalter.
Translations from Ukrainian (sometimes clumsily, I apologize).
History of Ukrainian culture, v.2. Ch. 2.5. V.S.Alexandrovich - Image-maker and decorative art.
The least known page in the history of Ukrainian art of the second half of the 13th - the first half of the 15th centuries is the miniature of handwritten books. The modest nature of ideas about it is not only a consequence of a small number of surviving memos: unlike other types of art, it has not found reflections in written sources. Talking about the numerous offerings to the church of Prince Vladimir Vasilkovich, the Galicia-Volyn chronicle never mentions the artistic design of manuscripts. The only authentic monument of this environment is a partially restored miniature depicting St. Basil the Great and Ephrem the Syrian in the "Parenesis" of Ephrem the Syrian dated 1288 (RNB) 25 .
Another illuminated manuscript of this period is "Conversations of St. Gregory the Dialogist on the Gospel" of the second half of the 13th century. (RNB). The codex is adorned with the original miniature "The Savior with St. Gregory the Dialogist, Eustachius and Two Angels". Built according to the "Supplication" scheme, the composition with the frontal figure of Christ and two smaller figures, subordinate to him, stretched out on a plane, has a hieratic character. The original miniature of "Conversations" by Grigory Dvoeslov is a rare example of the art of book miniatures. The thematic repertoire of the Ukrainian illuminated handwritten book was rather limited, and the gospel texts were primarily decorated with illustrations, so the repertoire of the Ukrainian miniature was based on images of the authors of the canonical Gospels.
The only richly illustrated gospel known in Ukrainian lands until the middle of the 15th century. - Lavryshevsky (Lavrishivske) 26, probably rewritten in Volhynia at the turn of the 13th - 14th centuries. Continuing the practice of manuscripts illustrated with portraits of the evangelists, the codex, together with traditional illustrations, has 14 more miniatures and preparatory drawings for them, of which 12 illustrate the text of the gospel books, two are images of St. Job and Archangel Michael. The miniature with Archangel Michael has its original character and is made on separate sheet before the text, therefore, obviously indicates the circumstances of the origin of the code.
A complicated iconographic version of the miniature with the evangelist is shown by the unique surviving illustration of the Kovrov Gospel, where the image of John with Prochorus on the island of Patmos is complemented not only by the half-figure of Christ, but also by the half-figure of the archangel Michael, unique for the corresponding iconography.
The most famous memo of the Ukrainian miniature of the period under consideration is Kyiv Psalter 1397(RNB). It belongs to a relatively small group of richly illustrated psalters of the Byzantine tradition, and for the artistic heritage of the Ukrainian lands it is a unique memorial. Its pages are adorned with hundreds of miniatures closely related to the text, which follow the original of the 11th century imperial scriptorium in Constantinople. 27 This orientation testifies not only to the tastes of the customers, but also to the landmarks of Ukrainian art of the princely era.
25. Nikalaev M. Chamber of Books. Handwritten book in Belarus ў X - XVIII years. - Minsk, 1993. - S. 26. More new literature a version has been put forward about the origin of several more illustrated codices from the same environment, but it requires a deeper study: Zapasko Ya.
26. His miniatures are examined in detail: Smorąg-Różycka M. Miniatury "Ewangeliarza Ławryszewskiego". Zagadnienie stylu // Folia Historiae Artium. - Kraków, 1992. - T. 28. - S. 13 - 38.
27. Likhacheva VD Miniatures of the Kyiv Psalter and their Byzantine source // Byzantium and Rus'. In memory of V. D. Likhacheva. - Moscow, 1989. - S. 220.
D. Krvavych, V. Ovsiychuk, S. Cherepanova. Ukrainian art, part 2. First seen. Lviv, 2004
3.3 Easel and monumental painting
Kiev Psalter.
... Kyiv, more than Europe, adhered to the Byzantine tradition, and this creative process was nourished by contacts with Constantinople and Athos. A sign of this is the miniature illumination of the Kyiv Psalter (M.E. Saltykov-Shchedrin Public Library, St. Petersburg). This work of genius revealed the level of artistic culture of Kyiv and vast regions of Ukrainian lands, because this creative response was felt in Galicia. The book, "described in the city of Kiev", is decorated with 303 illustrations. Here are scenes from the Old Testament, and also, according to its prophetic character, from the New Testament. There are few gospel themes: a few scenes of the Theotokos ("Entrance into the Temple", "Meeting of Mary with Elizabeth", "Theotokos Hodegetria", all, with the exception of the "Candlemas" holidays). Most of all the Old Testament, dedicated to the history of the church. Thumbnails are freely located on the margins, aesthetically complementing monolithic text blocks along with splash screens and initials. The manuscript was illustrated by two prominent Kyiv artists, who had a brilliant command of drawing and possessed a high artistry of pictorial manner. Their palette is unusually rich, it contains red, pink, purple, light purple, orange, olive, green, blue, blue, white, gray and black. By the way, only infernal forces, devils and entrances to caves are drawn in gray and black. All local colors are covered with an assist - golden parallel lines. The selection of chromatic elements was carried out in accordance with the iconographic canons. However, canonical limitations were repeatedly overcome for the sake of figurative and emotional content, which strengthened the coloristic expression. Two images are clearly distinguished by color in the Psalter: red-blue - King David, and blue-blue or gray-violet - Christ.
Reality is still conveyed with the help of the techniques that have developed in the Byzantine visual system: rocky hills-platforms, conditional trees, architectural motifs. However, here already lies the emergence of a new worldview, full of poetic moods. The poetry of reality is expressed primarily in the miniatures of the battle genre - two slumbering horsemen; Absalom pursuing David; in scenes of a domestic nature - Saul's conversation with David; council of the wicked; temple construction. Masterpieces are several miniatures depicting a dance: "Timpanes, Benjamin and the sons of Naphtali", "Dance of Israeli virgins before Saul", "Dance of the prophetess Miriam", in which the color and plasticity of graceful figures are raised to the level of high spirituality.
