RICONTRANS Project
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ItemIcoane ruseşti, ţărani răsculaţi şi politică protecţionistă în Imperiul Habsburgic la 1784-1785(Karl A. Romstorfer, Suceava, 2024)In the days immediately following the start of Horea's Uprising, three Russian icon merchants were arrested in the Aiud fair, suspected of being among those who had incited the peasants to revolt. Some of the icons that might have been sold at the time are in the collection of the Alba Iulia Museum. Their research followed rumours that merchants were distributing their wares with the announcement of an imminent Russian attack and that anyone who could not show such icons to prove they were a true Christian would be killed. The inquiry ordered by Emperor Joseph II after the suppression of the rebellion confirmed the clever marketing of the Russian merchants, who were banned from entering the Empire from 28 July 1785. In the following years, glass painting - a craft that was just taking off in the central provinces of the Habsburg Empire - would conquer the eyes of every Transylvanian Romanian, while cheap Russian icons would invade the Romanian village world outside the Carpathians.
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ItemЛампады русской работы для храмов Палестины (1693 год)(Saint Petersburg State University, 2021)The church lamps made in 1693 in Moscow at the request of the Jerusalem Patriarch Dositheus are by no means the only gifts from Russia to the churches of Palestine. However, they stand out because they were made according to a special pattern sent by the patriarch. In addition, Greek inscriptions were carved on them at the request of Dositheus. This practice, it seems, has never been noted in the sources before. The lamps were dedicated to the Holy places, for which the Greeks competed with the Catholics at that time, and conceived by the Jerusalem Patriarch as a symbol of the Russian tsars’ patronage over them. Basing on archival documents, the author of this article reconstructs the entire history of the creation of these late 17th-century works of Russian decorative art. The article is supplemented with the appendix “Inscriptions on Russian lamps sent to Jerusalem, original and revised versions, 1693”.
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ItemFrom Petersburg to Shipka via Mount Athos: Slavic Saints on the Shipka Iconostasis(Institute of Slavic Studies, Polish Academy of Sciences, 2024-10-31)The article explores the images of Slavic saints on the iconostasis of the Russian Memorial Church in the town of Shipka in Bulgaria, which were completed in 1899–1901 at the Russian Saint Panteleimon Monastery on Mount Athos. Its main objective is to analyze the iconostasis’s conceptual framework, the meanings behind the selection of the saints, as well as the main iconographical models utilized. The Committee for the Construction of the Memorial Church and its chairperson Count Nikolay Ignatyev conceived of one tier of images of saints depicting the heroes of the Russo-Turkish War of 1877–1878, while a number small icons would feature local Bulgarian and Slavic saints that were to be selected by the monks themselves. The icon painting monks mainly relied on Archbishop Philaret of Chernigov’s book The Saints of the Southern Slavs with engravings by academician Fedor Solntsev as the main source and model for their depictions of saints.
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ItemHistorical Research meets Semantic Interoperability: The Documentation System SYNTHESIS and its Application in Art History Research(The University of Tokyo, 2022)We present the SYNTHESIS documentation system and its use in the context of a large European research project of Art History, called RICONTRANS. SYNTHESIS is Web-based, multilingual, and configurable for use in other digital humanities fields. It focuses on semantic interoperability and achieves this by making use of standards for data modelling (CIDOC-CRM). The aim is the production of data with high value, longevity and long-term validity.
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ItemArt byzantin et peintres français au XIXe siècle sur le Mont Athos(Université de Poitiers, 2023)The article examines the interest, which arose around Byzantine art in France around the 1840s and which led to the discovery of Panselinos’ work on Mount Athos, but also of a tradition favoring a collective way of doing – this artistic tradition being already threatened by Russian influence. Two French painters are at the center of the article: Alexandre Bida, who painted the Refectory of Greek monks on Mount Athos but who, apparently, never visited this place; and Dominique Papety, who stayed there for a little more than a week during the summer of 1846 but who made a great number of drawings during his visit. The work of these painters shows Mount Athos as a place of artistic production, conservation and transmission. It also places this monastic peninsula and its inhabitants, deliberately staying at the margins of society, in the center of artistic debates in France.