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LudmilaBEJENARU

REFLEXEBIZANTINENCULTURACENTRALIESTEUROPEAN


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REFLEXEBIZANTINENCULTURACENTRALIESTEUROPEAN

Autor:LudmilaBEJENARUConductortiinific:Prof.univ.dr.IoanaNicolae(AndreiGrigor)

Lucrare realizat n cadrul proiectului Valorificarea identitilor culturale n

procesele globale, cofinanat din Fondul Social European prin Programul

OperaionalSectorialDezvoltareaResurselorUmane20072013,contractul

definanarenr.POSDRU/89/1.5/S/59758.

Titlurile idrepturiledeproprietateintelectual iindustrial asuprarezultatelor obinute n cadrul stagiului de cercetare postdoctoral aparin

AcademieiRomne.

Puncteledevedereexprimatenlucrareaparinautoruluiinuangajeaz

ComisiaEuropean iAcademiaRomn,beneficiaraproiectului.

Exemplargratuit.Comercializareanar istrintateesteinterzis.

Reproducerea,fieiparial ipeoricesuport,esteposibil numaicuacordulprealabil

alAcademieiRomne.

ISBN9789731671253 Depozitlegal:Trim.II2013


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Reflexebizantinenculturacentraliesteuropean

EdituraMuzeuluiNaionalalLiteraturiiRomne

ColeciaAULAMAGNA


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Cuprins

BIZANULIMODELULCULTURALALLUMIICRETINECUVNTNAINTE .......................................................................................... 9

I.BIZANULCAENTITATEMENTAL IMOTENIREAEUROPEAN................................................................................................... 14

1.ImperiulBizantin:definiie,etimologie,periodizare.............................14 2.ContribuiilastudiulBizanului.Reprezentaniiopere......................20

a.InteresulRenateriipentruculturabizantin....................................20

b.Istoriografiabizantinnspaiulcentraliesteuropean.Influene,perspective............................................................................27

c.Influenelebizantinenconstituireaspiritualitiiromneti..........43

d.Bizan dup Bizan spaiulspiritualalEuropeidesudest........53

e.DelapanslavismlaideologiiProetContrabizantine......................54

II.BIZANULNRAPORTCUCIVILIZAIILEICULTURILECENTRALISUDESTEUROPENE............................................................ 61

1.Unitateastructuralaavechilorculturidinaria centralisudesteuropean....................................................................................................61

a.CodexTheodosianus .............................................................................63

b.Cartearomneasc denvtur iindreptarealegii .................64

c.DrumuluiMtsii,DrumulSriiiDrumulmaredelavaregilagreci.....................................................................................................66

2.SlaviiiBizanul ..........................................................................................72

a.Slavii oenigm etnografic ...........................................................72

b.KnejiiruiirelaiilecuBizanul.........................................................74

c.Slaviidesud.Bulgaria,SloveniaiSerbia ..........................................85

III.INFLUENABIZANTIN NICONOGRAFIAISTILURILEARTEINAREALURILECENTRALISUDESTEUROPENE............... 89


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1.Artaimonahismulcomponenteeseniale alecommonwealthulmedievalorthodoxbizantin. ................................................................90

a.TradiiaisihastnrileOrtodoxiei.....................................................91

b.Athos leagnulvietiimonahale.......................................................100

c.Isihasmulsrbimodelulpustniciei .................................................103

d.Renatereaisihast rus ......................................................................106

e.Micareapaisianncontextpanortodox .........................................111

f.Reprezentrialemonahismuluinliteratur iart ........................116

g.SchimburileculturalepuniunificatoarensudestulEuropei..................................................................................................126

3.Canonulbizantin.Componentelestilistice alearteibizantine........... 128

4.Valenelemodeluluiculturalbizantinnarhitectura dinspaiulcentraliesteuropean .............................................................................141

a.Complexitateainflueneibizantineasupraculturiiruse................141

5.Valenebizantineniconografie..............................................................152

a.Icoana mijlocdetransmitereamesajuluievanghelic ..................152

b.IcoanaluiHristos fundamentaliconografieicretine.................155

c.IcoanaMaiciiDomnului......................................................................157

d.TeofanGrecul modelulartistuluiisihast.....................................160

e.Troiaicondiiadeafirus .............................................................161

6.SfntaCuvioas ParaschevamultfolositoaresimbolalunitiiOrtodoxieidepretutindeni .....................................................................165

a.ImagineaSfinteiParaschevanBulgaria...........................................167

b.ReprezentareaSfnteiParaschevan mozaic..................................170

c.BisericicunumeleSfinteiParaschiva ................................................172

7.NebuniantruHristossau ncercareaderevenirelaBizan..........174

a.NebuniantruHristos,fenomenulnebunieimistice...................174

b.SpiritulnebunieintruHristosnculturarus............................176

c.FilmulOstrovulsaudespreactualitatea nebunieintruHristos.................................................................................................178


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IV.RSFRNGERIALEBIZANTINISMULUIDINSPAIULROMNESCNCIRCUITULVALORILORCULTURALE ESTEUROPENE .................................................................................................... 180

1.Participarearomnilorlapromovareaspirituluibizantinnspaiulculturalcentaliesteuropean...................................................180

2.ContribuiileluitefancelMarelapstrareaunitiispaiuluiculturalbizantin........................................................................................182

a.Mnstireapova ...............................................................................184

b.MnstireaCurchi................................................................................186

c.MnstireaCpriana............................................................................187

d.CetilemoldavedinregiuneaPrutNistru .....................................189

e.CetateaHotin ........................................................................................190

f.CetateaSoroca .......................................................................................192

g.CetateaOrhei........................................................................................193

h.CetateaAlb..........................................................................................193

i.CetateaChilia.........................................................................................194

3.ElenaVoloanca prezen remarcabilnculturarus din

secolulalXVlea........................................................................................195

a.BroderiileEleneiVoloanca................................................................205

CONCLUZII ....................................................................................................... 210

BIBLIOGRAFIEGENERAL ........................................................................... 221

ADDENDA

FOREWORD ................................................................................ 226

TABLEOFCONTENTS ............................................................. 231


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ADDENDA

Foreword

Byzantiumandtheculturalmodel

ofcristianworld

Attheallegedborder temporal,mental,culturalbetweenold andmodern ,betweencommon and exceptional ,Byzantiumisrevealedinall its grandeur and fame. The Byzantine Empire, with its more thanmillennial existence, has always concerned the great spirits, promptingvividdiscussions.Admiredorchallengedbyourcontemporaries,territorialandspiritual,unknowntoothers,Byzantiumaimstoeventuallyregaintheplace it deserves on the world stage of history and culture. Even if it

perished from a strictly institutionalized point of view, Byzantium is stillwaiting for its social and political dimensions to be explored andevaluated along with the role that it undoubtedly had in defining theculturalprofile/modeloftheChristianworld,especiallyoftheOrthodoxone.Thetitleofourproject ByzantinereflectionsinCentralandEasternEuropeanculture ismotivatedbytheimportanceofByzantiumitselfandby the need to fill a void in the interdisciplinary/multidisciplinary/transdisciplinary research, which opens an unexpected horizon ofreading, of information that is subject to a concentric and condensedanalysisandinterpretation.

The overall objective of the project is that of addressing from aninterdisciplinary / multidisciplinary / transdisciplinary perspective thereflections of Byzantine origin in Central and Eastern European

civilizationsandcultures,ofinvestigatingthewayinwhichByzantiumhadfound expression, was mirrored and reflected in the civilizations and

culturesfromthegeoculturalareasmentioned,particularlythroughitsreal


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legacy,Orthodoxy,fromwhichtheChristianartconstantlysprings,whichisthe same in terms of tradition,but always anotherby adapting to currenttimes.ThescientificnoveltyandoriginalityofourprojectliesinthecomplexinvestigationofByzantinetrends,elementsandideaswhichappearincentralandEasternEuropeanculturethroughtheapplicationofnewmethodologiesof historical, theological, philosophical and culturological research of theproblem, united by this interdisciplinary scientific approach involvinginvestigativemethodsspecifictodisciplinessuchasculturalhistoriography,history of ideas, art history, cultural anthropology, philosophy of culture,

sociology, literary history, history and philosophy of law, as well ascombinatorialmethodsthatcomplementeachotherorinteract.

Webelievethattheresearchthemeproposed iswelcomegiventhatthe aspects of Byzantine reflection in Central and Eastern Europe culturewere not fully reportedby exegetes, much less in the Romanian culturalspace, where an interdisciplinary approach to the problem is almostnonexistent.Theappropriatenessofthisresearchtheme isjustifiedbytheexistenceofasmallnumberofarticles,studiesandworksdedicatedtotheproposedissue,andespeciallybytheneedtoemphasizethewayinwhichtheByzantineartandhistoryrelatestotherevaluationofculturalidentitiesofdifferentplacesandcultures.Theuniquecharacterofthethemeofourresearchprojectalsocomesfromtherecoveryofaconsiderableamountofculturalhistorical and theoretical information about thephenomenon ofByzantine culture footprint inCentral andEasternEuropean cultural

space. The contribution of the research we suggest consists not only insynthesizing some observations regarding the way in which Byzantiumwas reflected in the cultural space discussed,but rather, inhighlightingthe interdisciplinary relationships which forge the Byzantine reflectionsonaculturalintertextualitythatcrossesareasandevencontinents.

Also, our contribution aims to highlight the key aspects ofinterculturalism and acculturation of the analyzed cultural spaces bycertain cultural, historical implications, through the Byzantine Christianrite, matrimonial alliances, ethnological component, contributions in thefield of legal, administrative, military and diplomatic organization. Theimportanceoftheproposedsubjectisoverwhelming,becauseitintegrates


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intotheindissolubleunityofmanyculturalcivilizationsandspacesand

also opens and offers prospects to know the whole by means of a

commonsuperiorspace,promotingtheunityindiversityofCentraland

EasternEuropeanculturalspace.ResearchesonthecircuitofvaluesintheculturalareaoftheEasternandSouthernSlavs,knowingly,cometoenrichour project, while the national perspective of each of the cultures inquestioncalls formeditationandcompletionrevaluation, forthereaderscontinuation of analysis on ones own, for the discovery of new insightsintoknowledge.

Theresearchprojectaimedatachievingacomprehensiveoverviewof thevarious aspects ofByzantine culture reflections revolving in the

southoftheDanube,intheRomanianandSlavicEasternarea,compared

tothegeneralEuropeanculturalphenomena.Also,wesoughttohighlighttheoriginalityofeachcultures,describinganddefiningtheirindependenceand individuality, knowing that each of the cultures of the area of focuskeptaspecificstockofvalues.Webelievethatthefruitofourapproach,themonograph Reflexe bizantine n cultura central i esteuropean(ByzantineReflections inCentralandEasternEuropeanCulture), willbefound useful primarilyby the specialists in Byzantinology, art history,literature,philosophyofcultureandculturalhistoriography,whoaregiventhe opportunity to find in a single work interdisciplinary /multidisciplinary/transdisciplinaryreferencesandinterpretationsabout

theByzantineculturalimpactonCentralandEasternEuropeancultures.

Our good thoughts and feelings of gratitude go to the RomanianAcademy, and particularly to Academician Eugen Simion; without thelogisticalsupportoftheAcademyourresearchand thepublishingofthisvolumewouldnothavebeenpossible.

To Mr. Ioan Valeriu Frank a great and wise partner of dialogue

and to the team of project POSDRU/89/1. 5/S/59758 Valorificareaidentitilor culturale n procesele globale (Revaluation of culturalidentities in globalprocesses) many thanks and congratulations forprojectmanagement.

We addressournot atall formal thanks toPhD Prof. Ioana Nicolae(Andrei Grigor) who gave us the support we required for our


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investigationontheByzantinereflectionsinCentralandEasternEuropeanculture.

For our European partners Department of Byzantinology andBalkanic studies of Saint Klement Ohridski University, Sofia, Bulgaria,and the Center of Slavistics of the University of Riga, Latvia, where weperformedourresearchinternshipsundertheguidanceofprofessorsPhDHab. Hristo Matanovi and PhD. Hab Ludmila Sproge prosperity, newscientific results, new opportunities for the intellectual and professionaldevelopment of students and to facilitate quality research through activeparticipationinthedevelopmentoftheEuropeanHigherEducationArea.

Manythankstothelibraries,whosecollectionofbooksweusedduringthe traineeship: National Library Saint Kiril and Methodius in Sofia, theBulgarian Academy of Sciences Library, the Library of the Institute ofBalkanisticinSofia,NationalLibraryofLatvia,theLibraryofAcademiesofSciencesofLatvia,Romania,Russia,Moldova,theRussianNationalLibrary,the Fundamental Library of Humanities from Lomonosov University, theuniversityLibrariesofIai,Chernivtsi,Riga,Sofia.

The impactof the research internship was primarily definedby the

factthatweenjoyedtheprestigeofaEuropeantrainingundertheguidanceofprestigiousteachersinRomania,BulgariaandLatvia,andtheexperiencewas shared through discussions, written reports, the files and CD ofinternships.Thepotentialimpactofthetransferofknowledgeisreflectedintheireffectivevalorizationofpracticalandscientificactivities.Wewillusethe knowledge acquired during the research internships in the drafting ofwork, while the skills and abilities willbe used in the provision of qualityeducation in the field of Central and Southeastern European cultures andcivilizations,bypromotingtheEuropeandimensionineducation.

The cognition and discovery of other cultural spaces and European

andglobalapproaches,by interactingwith the institutionsorganizing theinternships,gaveustheopportunitytointeractwithotherculturesbesidesthe Romanian one, helped us overcome language and culturalbarriers,unfounded prejudices, become spiritually richer, discover theextraordinary unity in diversity, built mostly on Orthodoxy. In themulticulturalcontextoffered,thepromotionoftolerance(towardscultural


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differencesorofothertypes)hasbeenanacquisitionofaEuropeanvaluetransferableandapplicabletootherculturesaswell.

Theestablishmentanddelineationofabibliographicdatabaseinthefield, the elaboration of records, the completion of the personal libraryduring the scholarship period with over 100 titles in the field, representsthe added value of our research internship from an interdisciplinary /multidisciplinary/transdisciplinaryperspectiveregardingthestudyoftheByzantinereflectionsonthecentralandEasternEuropeancivilizationsandcultures,but what is more important is the investigation of the way inwhichByzantiumhadfoundexpression,wasmirroredandreflectedintheCentral and SouthEastern European civilizations and cultures from thenationalperspectiveofeachoftheculturesinquestion.

Obviously,allthemeritsofthismonographarealsoduetotheonesmentioned above, while any possible shortcomings, omissions, belongexclusivelytotheauthor.

PhDUniversityLecturerLudmilaBejenaru


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Tableofcontents

BYZANTIUMANDTHECULTURALMODELOFTHECHRISTIANWORLDFOREWORD...................................................................................... 9

I.BYZANTIUMASMENTALENTITYANDEUROPEANHERITAGE....................................................................................................... 14

1.ByzantineEmpire:definition,etymology,timing ..................................14

2.ResearchesontheByzantinehistoryandspirituality.Representativesandworks.......................................................................20

a.RenaissancesinterestinByzantineculture.......................................20

b.ByzantinehistoriographyinCentralandEasternEurope.Influences,interferences,Perspectives ..............................................27

c.ByzantineinfluencesintheformationofRomanianspirituality .............................................................................................43

d.ByzantiumafterByzantium spiritualspaceofSouthEastEurope.....................................................................................................53

e.FrompanslavismtoforandagainstByzantineideologies .............54

II.BYZANTIUMINRELATIONTOCENTRALANDSOUTHEASTERNEUROPEANCIVILIZATIONSANDCULTURES ................. 61

1.StructuralunitoftheancientculturesofCentralandSouthEasternEurope ...........................................................................................61

a.CodexTheodosianus ............................................................................63

b.Romanianbookofdoctrineandlawstraightening ........................64

c.TheroadofSilk andtheGreatroadfromVarangianstotheGreeks ....................................................................................................66

2.SlavsandByzantium..................................................................................72

a.TheSlavs anethnographicenigma.................................................72

b.RussianprincesandrelationswithByzantium .................................74


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c.SouthSlavs.Bulgaria,SloveniaandSerbia.........................................85

III.BYZANTINEINFLUENCEINICONOGRAPHYANDARTSTYLESINCENTRALANDSOUTHEASTERNEUROPE ..................... 89

1.Artandmonasticism essentialcomponentsofthemedievalOrthodoxByzantinecommonwealth.......................................................90

a.HesychastictraditioninOrthodoxcountries.....................................91

b.Athos Monasticlifecradle................................................................100

c.Serbianhesychasmandthehermitagemodel..................................103 d.Russianhesychasticrevival................................................................106

e.PaisianmovementinapanOrthodoxcontext.................................111

f.Representationsofmonasticisminliteratureandart......................116

g.Culturalexchanges unifyingbridgesinSouthEasternEurope...................................................................................................126

3.Byzantinecanon.StylisticcomponentsofByzantineart ...................128

4.ValencesoftheByzantineculturalmodelinthearchitectureoftheCentralandEasternEuropeanarea................................................141

a.ComplexityofByzantineinfluenceonRussianculture.................141

5.Byzantinevalencesiniconographya.Theicon meansoftransmittingtheGospelmessage ...........................................................152

a.IconofChrist thefoundationofChristianiconography..............152

b.TheIconofVirginMary......................................................................155

c.TheophanestheGreekthemodeloftheartisthesychast .........157

d.AndreiRublevstrinityandtheconditionof beingRussian ......160

e.FerapontovoandtheRubliovianmodelofharmonysearch .........161

6.St.Parascheva symbolofOrthodoxunityallovertheworld ..........1657.FoolishnessforChrist ortheAttempttoreturntoByzantium .......174

a.FoolishnessforChrist ,themysticalmadnessphenomenon.......174

b.ThespiritofFoolishnessforChrist inRussianculture................176


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c.TheislandorabouttheactualityoftheFoolishnessforChrist...................................................................................................178

IV.REFLECTIONSOFTHEROMANIANBYZANTINISMINTHEEASTERNEUROPEANCULTURALVALUESCIRCUIT....................... 180

1.RomaniansparticipationinpromotingtheByzantinespiritintheCentralandEastEuropeanculturalarea.......................................180

2.StephentheGreatscontributionstopreservingtheunityofByzantineculturalarea ...........................................................................182

a.TipovaMonastery ...............................................................................184

b.CurchiMonastery ................................................................................186

c.CaprianaMonastery............................................................................187

d.TheMoldovancitiesfromthePrutDniesterregion.......................189

e.Hotin .....................................................................................................190

f.Sorocacity .............................................................................................192

g.Orheicity ..............................................................................................193

h.WhiteCity ............................................................................................193

i.Chiliacity ..............................................................................................194

3.ElenaVoloancaremarkablepresenceinthefifteenthcenturyRussianculture..........................................................................................195

a.ElenaVoloancasembroidery ...............................................................205

CONCLUSIONS ................................................................................................ 210

GENERALREFERENCES................................................................................ 221


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CNCSPN II ACRED ED 20120374

Copertacoleciei:AULAMAGNAMachetare,tehnoredactareiprezentaregrafic:

LuminiaLOGIN,NicolaeLOGIN

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ISBN9789731671253 Apruttrim.II2013

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