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Ludmila BEJENARU REFLEXE BIZANTINE ÎN CULTURA CENTRAL ŞI EST‐EUROPEANĂ
REFLEXE BIZANTINE ÎN CULTURA CENTRAL ŞI EST‐EUROPEANĂ
Autor: Ludmila BEJENARU Conducător ştiințific: Prof. univ. dr. Ioana Nicolae (Andrei Grigor)
Lucrare realizată în cadrul proiectului „Valorificarea identităților culturale în procesele globale”, cofinanțat din Fondul Social European prin Programul Operațional Sectorial Dezvoltarea Resurselor Umane 2007 – 2013, contractul de finanțare nr. POSDRU/89/1.5/S/59758. Titlurile şi drepturile de proprietate intelectuală şi industrială asupra rezul‐tatelor obținute în cadrul stagiului de cercetare postdoctorală aparțin Academiei Române.
Punctele de vedere exprimate în lucrare aparțin autorului şi nu angajează Comisia Europeană şi Academia Română, beneficiara proiectului.
Exemplar gratuit. Comercializarea în țară şi străinătate este interzisă.
Reproducerea, fie şi parțială şi pe orice suport, este posibilă numai cu acordul prealabil al Academiei Române.
ISBN 978‐973‐167‐125‐3 Depozit legal: Trim. II 2013
Ludmila BEJENARU
Reflexe bizantine în cultura central şi est‐europeană
Editura Muzeului Național al Literaturii Române
Colecția AULA MAGNA
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Cuprins
BIZANȚUL ŞI MODELUL CULTURAL AL LUMII CREŞTINE CUVÂNT ÎNAINTE .......................................................................................... 9
I. BIZANȚUL CA ENTITATE „MENTALĂ” ŞI MOŞTENIREA EUROPEANĂ................................................................................................... 14 1. Imperiul Bizantin: definiție, etimologie, periodizare .............................14 2. Contribuții la studiul Bizanțului. Reprezentanți şi opere......................20
a. Interesul Renaşterii pentru cultura bizantină ....................................20 b. Istoriografia bizantină în spațiul central şi est ‐european.
Influențe, perspective............................................................................27 c. Influențele bizantine în constituirea spiritualității româneşti..........43 d. ʺBizanț după Bizanțʺ ‐ spațiul spiritual al Europei de sud‐est ........53 e. De la panslavism la ideologii Pro et Contra bizantine......................54
II. BIZANȚUL ÎN RAPORT CU CIVILIZAȚIILE ŞI CULTURILE CENTRAL ŞI SUD‐EST‐EUROPENE............................................................ 61 1. Unitatea structurala a vechilor culturi din aria central şi sud‐est
europeană ....................................................................................................61 a. Codex Theodosianus .............................................................................63 b. „Cartea românească de învățătură şi indreptare a legii” .................64 c. Drumului Mătăsii,Drumul Sării şi Drumul mare de la varegi
la greci .....................................................................................................66 2. Slavii şi Bizanțul ..........................................................................................72
a. Slavii ‐ o „enigmă etnografică” ...........................................................72 b. Knejii ruşi şi relațiile cu Bizanțul .........................................................74 c. Slavii de sud. Bulgaria, Slovenia şi Serbia ..........................................85
III. INFLUENȚA BIZANTINĂ ÎN ICONOGRAFIA ŞI STILURILE ARTEI ÎN AREALURILE CENTRAL ŞI SUD‐EST‐EUROPENE............... 89
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1. Arta şi monahismul – componente esențiale ale commonwealth‐ul medieval orthodox bizantin. ................................................................90 a.Tradiția isihastă în țările Ortodoxiei.....................................................91 b. Athos ‐ leagănul vietii monahale .......................................................100 c. Isihasmul sârb şi modelul pustniciei .................................................103 d. Renaşterea isihastă rusă ......................................................................106 e. Mişcarea paisiană în context panortodox .........................................111 f. Reprezentări ale monahismului în literatură şi artă ........................116 g. Schimburile culturale – punți unificatoare în sud‐estul
Europei..................................................................................................126 3. Canonul bizantin. Componentele stilistice ale artei bizantine...........128 4. Valențele modelului cultural bizantin în arhitectura din spațiul
central şi est‐european .............................................................................141 a. Complexitatea influenței bizantine asupra culturii ruse ................141
5. Valențe bizantine în iconografie..............................................................152 a. Icoana ‐ mijloc de transmitere a mesajului evanghelic ..................152 b. Icoana lui Hristos ‐ fundament al iconografiei creştine.................155 c. Icoana Maicii Domnului ......................................................................157 d. Teofan Grecul ‐ modelul artistului – isihast.....................................160 e.Troița şi condiția „de a fi rus” .............................................................161
6. Sfânta Cuvioasă Parascheva mult folositoare – simbol al unității Ortodoxiei de pretutindeni .....................................................................165 a. Imaginea Sfintei Parascheva în Bulgaria...........................................167 b. Reprezentarea Sfântei Parascheva în mozaic..................................170 c. Biserici cu numele Sfintei Paraschiva ................................................172
7. „Nebunia întru Hristos” sau Încercarea de revenire la Bizanț ..........174 a. „Nebunia întru Hristos”, fenomenul nebuniei mistice...................174 b. Spiritul “nebuniei întru Hristos” în cultura rusă ............................176 c. Filmul Ostrovul sau despre actualitatea “nebuniei întru
Hristos”.................................................................................................178
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IV. RĂSFRÂNGERI ALE BIZANTINISMULUI DIN SPAȚIUL ROMÂNESC ÎN CIRCUITUL VALORILOR CULTURALE EST‐EUROPENE .................................................................................................... 180 1. Participarea românilor la promovarea spiritului bizantin în
spațiul cultural cental şi est‐european...................................................180 2. Contribuțiile lui Ștefan cel Mare la păstrarea unității spațiului
cultural bizantin........................................................................................182 a. Mănăstirea Țîpova ...............................................................................184 b. Mănăstirea Curchi................................................................................186 c. Mănăstirea Căpriana............................................................................187 d. Cetățile moldave din regiunea Prut‐Nistru .....................................189 e. Cetatea Hotin ........................................................................................190 f. Cetatea Soroca .......................................................................................192 g. Cetatea Orhei ........................................................................................193 h. Cetatea Albă..........................................................................................193 i. Cetatea Chilia.........................................................................................194
3. Elena Voloşanca ‐ prezență remarcabilă în cultura rusă din secolul al XV‐lea........................................................................................195 a. Broderiile Elenei Voloşanca ................................................................205
CONCLUZII ....................................................................................................... 210
BIBLIOGRAFIE GENERALĂ ........................................................................... 221
ADDENDA
FOREWORD ................................................................................ 226
TABLE OF CONTENTS ............................................................. 231
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ADDENDA
Foreword
Byzantium and the cultural model of cristian world
At the alleged border ‐ temporal, mental, cultural ‐ between ʺoldʺ and
ʺmodernʺ, between ʺcommonʺ and ʺexceptionalʺ, Byzantium is revealed in all its grandeur and fame. The Byzantine Empire, with its more than millennial existence, has always concerned the great spirits, prompting vivid discussions. Admired or challenged by our contemporaries, territorial and spiritual, unknown to others, Byzantium aims to eventually regain the place it deserves on the world stage of history and culture. Even if it perished from a strictly institutionalized point of view, Byzantium is still waiting for its social and political ʺdimensionsʺ to be explored and evaluated along with the role that it undoubtedly had in defining the cultural profile / model of the Christian world, especially of the Orthodox one. The title of our project ‐ Byzantine reflections in Central and Eastern European culture ‐ is motivated by the importance of Byzantium itself and by the need to fill a void in the interdisciplinary / multidisciplinary / trans‐disciplinary research, which opens an unexpected horizon of reading, of information that is subject to a concentric and condensed analysis and interpretation.
The overall objective of the project is that of addressing from an interdisciplinary / multidisciplinary / trans‐disciplinary perspective the reflections of Byzantine origin in Central and Eastern European civilizations and cultures, of investigating the way in which Byzantium had found expression, was mirrored and reflected in the civilizations and cultures from the geo‐cultural areas mentioned, particularly through its real
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legacy, Orthodoxy, from which the Christian art constantly springs, which is the same in terms of tradition, but always another by adapting to current times. The scientific novelty and originality of our project lies in the complex investigation of Byzantine trends, elements and ideas which appear in central and Eastern European culture through the application of new methodologies of historical, theological, philosophical and culturological research of the problem, united by this interdisciplinary scientific approach involving investigative methods specific to disciplines such as cultural historiography, history of ideas, art history, cultural anthropology, philosophy of culture, sociology, literary history, history and philosophy of law, as well as combinatorial methods that complement each other or interact.
We believe that the research theme proposed is welcome given that the aspects of Byzantine reflection in Central and Eastern Europe culture were not fully reported by exegetes, much less in the Romanian cultural space, where an interdisciplinary approach to the problem is almost nonexistent. The appropriateness of this research theme is justified by the existence of a small number of articles, studies and works dedicated to the proposed issue, and especially by the need to emphasize the way in which the Byzantine art and history relates to the revaluation of cultural identities of different places and cultures. The unique character of the theme of our research project also comes from the recovery of a considerable amount of cultural‐historical and theoretical information about the phenomenon of Byzantine culture ʺfootprintʺ in Central and Eastern European cultural space. The contribution of the research we suggest consists not only in synthesizing some observations regarding the way in which Byzantium was reflected in the cultural space discussed, but rather, in highlighting the interdisciplinary relationships which forge the Byzantine reflections on a cultural intertextuality that crosses areas and even continents.
Also, our contribution aims to ʺhighlightʺ the key aspects of interculturalism and acculturation of the analyzed cultural spaces by certain cultural, historical implications, through the Byzantine Christian rite, matrimonial alliances, ethnological component, contributions in the field of legal, administrative, military and diplomatic organization. The importance of the proposed subject is overwhelming, because it integrates
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into the indissoluble unity of many cultural civilizations and spaces and also opens and offers prospects to know the whole by means of a common superior space, promoting the unity in diversity of Central and Eastern European cultural space. Researches on the circuit of values in the cultural area of the Eastern and Southern Slavs, knowingly, come to enrich our project, while the national perspective of each of the cultures in question calls for meditation and completion revaluation, for the reader’s continuation of analysis on one’s own, for the discovery of new insights into knowledge.
The research project aimed at achieving a comprehensive overview of the various aspects of Byzantine culture reflections revolving in the south of the Danube, in the Romanian and Slavic‐Eastern area, compared to the general‐European cultural phenomena. Also, we sought to highlight the originality of each cultures, describing and defining their independence and individuality, knowing that each of the cultures of the area of focus kept a specific stock of values. We believe that the fruit of our approach, the monograph Reflexe bizantine în cultura central şi est‐europeană (Byzantine Reflections in Central and Eastern European Culture), will be found useful primarily by the specialists in Byzantinology, art history, literature, philosophy of culture and cultural historiography, who are given the opportunity to find in a single work interdisciplinary / multidisciplinary / transdisciplinary references and interpretations about the Byzantine cultural impact on Central and Eastern European cultures.
Our good thoughts and feelings of gratitude go to the Romanian Academy, and particularly to Academician Eugen Simion; without the logistical support of the Academy our research and the publishing of this volume would not have been possible.
To Mr. Ioan Valeriu Frank ‐ a great and wise partner of dialogue ‐ and to the team of project POSDRU/89/1. 5/S/59758 „Valorificarea identităților culturale în procesele globale” ‐ (ʺRevaluation of cultural identities in global processesʺ) – many thanks and congratulations for project management.
We address our not at all formal thanks to PhD Prof. Ioana Nicolae (Andrei Grigor) – who gave us the support we required for our
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investigation on the Byzantine reflections in Central and Eastern European culture.
For our European partners ‐ Department of Byzantinology and Balkanic studies of ʺSaint Klement Ohridskiʺ University, Sofia, Bulgaria, and the Center of Slavistics of the University of Riga, Latvia, where we performed our research internships under the guidance of professors PhD Hab. Hristo Matanović and PhD. Hab Ludmila Sproge ‐ prosperity, new scientific results, new opportunities for the intellectual and professional development of students and to facilitate quality research through active participation in the development of the European Higher Education Area.
Many thanks to the libraries, whose collection of books we used during the traineeship: National Library ʺSaint Kiril and Methodiusʺ in Sofia, the Bulgarian Academy of Sciences Library, the Library of the Institute of Balkanistic in Sofia, National Library of Latvia, the Library of Academies of Sciences of Latvia, Romania, Russia, Moldova, the Russian National Library, the Fundamental Library of Humanities from Lomonosov University, the university Libraries of Iaşi, Chernivtsi, Riga, Sofia.
The impact of the research internship was primarily defined by the fact that we enjoyed the prestige of a European training under the guidance of prestigious teachers in Romania, Bulgaria and Latvia, and the experience was shared through discussions, written reports, the files and CD of internships. The potential impact of the transfer of knowledge is reflected in their effective valorization of practical and scientific activities. We will use the knowledge acquired during the research internships in the drafting of work, while the skills and abilities will be used in the provision of quality education in the field of Central and Southeastern European cultures and civilizations, by promoting the European dimension in education.
The cognition and discovery of other cultural spaces and European and global approaches, by interacting with the institutions organizing the internships, gave us the opportunity to interact with other cultures besides the Romanian one, helped us overcome language and cultural barriers, unfounded prejudices, become spiritually richer, discover the extraordinary unity in diversity, built mostly on Orthodoxy. In the multicultural context offered, the promotion of tolerance (towards cultural
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differences or of other types) has been an acquisition of a European value transferable and applicable to other cultures as well.
The establishment and delineation of a bibliographic database in the field, the elaboration of records, the completion of the personal library during the scholarship period with over 100 titles in the field, represents the added value of our research internship from an interdisciplinary / multidisciplinary / transdisciplinary perspective regarding the study of the Byzantine reflections on the central and Eastern European civilizations and cultures, but what is more important is the investigation of the way in which Byzantium had found expression, was mirrored and reflected in the Central and South‐Eastern European civilizations and cultures from the national perspective of each of the cultures in question.
Obviously, all the merits of this monograph are also due to the ones mentioned above, while any possible shortcomings, omissions, belong exclusively to the author.
PhD University Lecturer Ludmila Bejenaru
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Table of contents
BYZANTIUM AND THE CULTURAL MODEL OF THE CHRISTIAN WORLD FOREWORD ...................................................................................... 9
I. BYZANTIUM AS MENTAL ENTITY AND EUROPEAN HERITAGE ....................................................................................................... 14 1. Byzantine Empire: definition, etymology, timing ..................................14 2. Researches on the Byzantine history and spirituality.
Representatives and works.......................................................................20
a. Renaissance’s interest in Byzantine culture .......................................20
b. Byzantine historiography in Central and Eastern Europe. Influences, interferences, Perspectives ..............................................27
c. Byzantine influences in the formation of Romanian spirituality .............................................................................................43
d. ʺByzantium after Byzantiumʺ ‐ spiritual space of South‐East Europe.....................................................................................................53
e. From panslavism to for and against Byzantine ideologies .............54
II. BYZANTIUM IN RELATION TO CENTRAL AND SOUTH‐EASTERN EUROPEAN CIVILIZATIONS AND CULTURES ................. 61 1. Structural unit of the ancient cultures of Central and South‐
Eastern Europe ...........................................................................................61
a. Codex Theodosianus ............................................................................63
b.ʺRomanian book of doctrine and law straighteningʺ ........................64
c. The road of Silk and the Great road from Varangians to the Greeks ....................................................................................................66
2. Slavs and Byzantium ..................................................................................72
a. The Slavs ‐ an ʺethnographic enigmaʺ.................................................72
b. Russian princes and relations with Byzantium .................................74
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c. South Slavs. Bulgaria, Slovenia and Serbia.........................................85
III. BYZANTINE INFLUENCE IN ICONOGRAPHY AND ART STYLES IN CENTRAL AND SOUTH‐EASTERN EUROPE ..................... 89 1. Art and monasticism ‐ essential components of the medieval
Orthodox Byzantine commonwealth.......................................................90
a. Hesychastic tradition in Orthodox countries .....................................91
b. Athos ‐ Monastic life cradle ................................................................100
c. Serbian hesychasm and the hermitage model..................................103
d. Russian hesychastic revival................................................................106
e. Paisian movement in a pan‐Orthodox context.................................111
f. Representations of monasticism in literature and art......................116
g. Cultural exchanges ‐ unifying bridges in South‐Eastern Europe...................................................................................................126
3. Byzantine canon. Stylistic components of Byzantine art ...................128 4. Valences of the Byzantine cultural model in the architecture of
the Central and Eastern European area ................................................141
a. Complexity of Byzantine influence on Russian culture .................141 5. Byzantine valences in iconography a. The icon ‐ means of
transmitting the Gospel message ...........................................................152
a. Icon of Christ ‐ the foundation of Christian iconography ..............152
b. The Icon of Virgin Mary......................................................................155
c. Theophanes the Greek – the model of the artist – hesychast .........157
d. Andrei Rublev’s trinity and the condition of ʺbeing Russianʺ ......160
e. Ferapontovo and the Rubliovian model of harmony search .........161 6. St. Parascheva ‐ symbol of Orthodox unity all over the world ..........165 7. ʺFoolishness for Christʺ or the Attempt to return to Byzantium .......174
a. ʺFoolishness for Christʺ, the mystical madness phenomenon.......174
b. The spirit of ʺFoolishness for Christʺ in Russian culture................176
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c. The island or about the actuality of the ʺFoolishness for Christʺ ...................................................................................................178
IV. REFLECTIONS OF THE ROMANIAN BYZANTINISM IN THE EASTERN EUROPEAN CULTURAL VALUES CIRCUIT....................... 180 1. Romanian’s participation in promoting the Byzantine spirit in
the Central and East European cultural area .......................................180 2. Stephen the Greatʹs contributions to preserving the unity of
Byzantine cultural area ...........................................................................182
a. Tipova Monastery ...............................................................................184
b. Curchi Monastery ................................................................................186
c. Capriana Monastery ............................................................................187
d. The Moldovan cities from the Prut‐Dniester region.......................189
e. Hotin .....................................................................................................190
f. Soroca city .............................................................................................192
g. Orhei city ..............................................................................................193
h. White City ............................................................................................193
i. Chilia city ..............................................................................................194 3. Elena Voloşanca – remarkable presence in the fifteenth century
Russian culture..........................................................................................195 a. Elena Voloşanca’s embroidery ...............................................................205
CONCLUSIONS ................................................................................................ 210
GENERAL REFERENCES ................................................................................ 221
Editura Muzeului Național al Literaturii Române
CNCS PN ‐ II ‐ ACRED ‐ ED ‐ 2012 – 0374 Coperta colecției: AULA MAGNA
Machetare, tehnoredactare şi prezentare grafică: Luminița LOGIN, Nicolae LOGIN Logistică editorială şi diseminare: Ovidiu SÎRBU, Radu AMAN
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ISBN 978‐973‐167‐125‐3 Apărut trim. II 2013