The article is devoted to two engravings depicting Jesus Christ and the Mother of God in lush ornamental cartouches. They are well known to Serbian art critics and are published in the catalogs of Serbian metal engravings of the 18th century. Copper engraved boards of these engravings, which Serbian researchers attribute to the end of the 18th or the beginning of the 19th century, are preserved in the Krka Monastery. Prints from them of the 18th-19th centuries are unknown in Serbian collections. In Serbia, the first prints from these boards were made in the 20th century. However, prints from these engravings were well known in Russia in the 17th-18th centuries. They were primarily used as illustrations in Russian manuscript books. The engravings were made by a Russian master at the end of the 17th century. According to the features of engraving, manner, and stylistics, they can be attributed to Moscow engraver Leonty Bunin. In Russian manuscripts, they were usually used as illustrations in the book The Passion of Christ along with the 14-sheet series The Passion of Christ by Leonty Bunin. Cases of using them as independent illustrations are known. In the 1730s, these engravings disappeared from the illustrations in The Passion of Christ series in Russian manuscript books. Their later prints are unknown in Russia. The history of their appearance in Serbia, in the Krka Monastery, remains unknown. Perhaps they appeared there as gifts from Russia which the monastery regularly received. In the 18th century, Serbian religious art experienced a powerful influence from Dutch graphics. As iconographic sources, Serbian masters used Flemish and Dutch engravings of the 16th and 17th centuries. They were the same ones that were used by Russian masters of the 17th century, especially of the second half of the century, as iconographic examples. The identity of the artistic processes that took place in the art of Serbia in the 18th century and Russia of the 17th century turned out to be so close that Serbian art historians regarded the Russian prints of the 17th century by Leonty Bunin as Serbian works of an unknown engraver of the late 17th - early 19th centuries. The biography of Leonty Bunin is considered in detail in the article, some facts of his life are presented for the first time.
The article tires to identify early printed editions from Novgorod churches and monasteries as part of the Russian State Library (RSL) collection. It shows the way they got to the RSL and provides a method for their attribution. In the XVIII century, the books were collected in the St. Sophia Cathedral library in Novgorod. In the middle of the XIX century, some of them were brought to the library of the St. Petersburg Theological Academy. In the 1870s, the idea of exchanging book duplicates between the St. Petersburg Theological Academy and the Moscow Public and Rumyantsev’s Museums arose. It was supported by His Eminence Metropolitan of St. Petersburg, Novgorod and Finland Isidore. In 1874, the Rumyantsev’s Museum received 126 books. Among them, there were books from the Kirillo-Belozersk Monastery, the Sofia Library and some items of an unknown origin (without owner's signs). The article shows the methodology and process of attribution the books from Novgorod monasteries and churches based on the study of owners’ signs (for example, dedicatory inscriptions, authographs and other notes) taking in account the history of the Sofia Library collection. There were some contributions from the nobility, for example, D. M. Bashmakov, a statesman of the 17th century; or Princess Natalia Kirillovna, a mother of Peter I, who made a donation to the Novgorod Convent of Great martyr Euphemia the Glorious. This fact allows us to look at the history of monastic libraries in a more detailed way exploring their parts. The attribution of the books of Novgorod origin at the RSL collection illustrates the research method for regional Cyrillic book collections, which for the most part remains unexplored.Keywords: the early Cyrillic printed books, the Sofia Library, Novgorod Books, editions of the Moscow Printing House, the history of libraries, St. Petersburg Theological Academy, monastic and church libraries, books of Ancient Russia, regional collections of old printed books.
Московский государственный академический художественный институт им. В.И. Сурикова при Российской академии художеств, проректор по научной работе Товарищеский пер., д. 30, Москва, 109004, Россия Российская государственная библиотека, Центр по исследованию проблем развития библиотек в информационном обществ е, сектор изучения особо ценных фондов, главный научный сотрудник Воздвиженка, д. 3/5, Москва, 119019, Россия доктор искусствоведения, действительный член (академик) Российской академии художеств
For the first time the manuscript book with engravings as a special genre in book culture is described, its formation in the XVII century is analysed. The reasons of origin of a genre and the main stages of its development, its historical role and a place in book culture of Russia are shown. Some issues of book art and art connections of the Russian and European book are highlighted.
Российская государственная библиотека, Центр исследования проблем развития библиотек в информационном обществе, сектор изучения особо ценных фондов, главный научный сотрудник Воздвиженка, 3/5, Москва, 119019, Россия Российская академия художеств, Научно-исследовательский институт теории и истории изобразительного искусства, отдел словаря художников, заведующий отделом Пречистенка ул.,
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