Visuality and Textuality in Hagiographic Posters of Old Believers of the Chasovennye (“chapel-going”) Denomination
DOI:
https://doi.org/10.25178/nit.2019.1.7Keywords:
Old Believers; Chasovennye; Dubches; portraits; spiritual verses; visual/textual hagiography; Yenisei; Yenisei region; Eastern Siberia; Southern SiberiaAbstract
Modern-day Old Believers of the ‘chapel-going” denomination (chasovennye) strive to preserve their doctrines and culture, and yet they are willing to adapt them in order to meet the needs of their communities in our constantly developing and changing world. Old Believers seek to compensate for the increasing and often destructive influence of the outer world on their traditions by simultaneously cultivating existing genres and creating new genres of their confessional art.
The realistic representation of spiritual leaders in portraits, which are often accompanied by spiritual verses can be attributed to such an innovation. This composition can be attributed as visual-texts hagiography.
The field collections made by the authors in 2016–2018 in Russia (on the territory of Eastern Siberia — Tuva, Krasnoyarsk Krai, Irkutsk oblast) and in the USA (Oregon, Minnesota), where the Chasovennye communities are found, were used as sources for this study – including images, written and oral sources.
We have examined a number of portraits of monks and hegumenons of taiga sketes, especially those of Frs. Grigorii, Gurii, Timofei, Lavrentii and Mikhail. Of particular interest is the portrait of Fr. Mikhael and the accompanying informative memorial verse, dedicated to this famous religious figure of this denomination (full text provided in the article).
The additional meaning given to the image by the memorial text turns it into an informative and highly dramatic hagiographic unity of the visual and the textual. This combined type of hagiography, common among contemporary Old Believers of the Chasovennye denomination, has become an integral part of reconstruction, saving andReferences
Bykova, E. V. and Kostrov, A. V. (2018) «Igra prostranstva» v sovremennom staroobriadcheskom lubke ["The game of space" in the modern Old Believers lubok]. In: Nauchnye trudy. Vol. 44. January — Mars 2018. Problemy razvitiia otechestvennogo iskusstva / ed. by V. A. Leniashin. St. Petersburg, s. n. 235 p. Pp. 174–185. (In Russ.).
Dukhovnaia literatura staroverov Vostoka Rossii XVIII–XX vv. [Spiritual literature of Old Believers of the East of Russia in 18th - 20th centuries] (1999) / ed. by N. N. Pokrovskii. Novosibirsk, Sibirskii khronograf. 799 p. (In Russ.).
Zhuravel', O. D. (2012) Literaturnoe tvorchestvo staroobriadtsev XVIII — nachala XXI v.: temy, problemy, poetika [The literary work of Old Believers from the 18th to early 21st century: issues, problems, poetics]. Novosibirsk, SO RAN Publ. 442 p. (In Russ.).
Zol'nikova, N. D. (1996) Chelovek i vselennaia v sochineniiakh glavy sibirskogo staroobriadcheskogo monastyria o. Simeona [Man and the universe in the writings of Fr. Simeon, head of a Siberian Old Belief monastery]. Gumanitarnye nauki v Sibiri. Otechestvennaia istoriia, no. 2, pp. 50–54. (In Russ.).
Itkina, E. I. (1992) Russkii risovannyi lubok XVIII — nachala XX veka [Russian cheap popular print of 18th — early 20th centuries]. Moscow, Istoricheskii muzei. 256 p. (In Russ.).
Kazantseva, T. G. (2011) Starovery-chasovennye Nizhnego Eniseia: bytovoi uklad, liturgicheskaia praktika, dukhovno-pevcheskaia kul'tura (po materialam polevykh issledovanii) [Chasovennye Old Believers of the Lower Yenisei: household style, liturgical practice, church singing culture: from the materials of field research]. In: Materialy X Mezhdunarodnoi nauchnoi konferentsii «Staroobriadchestvo: istoriia, kul'tura, sovremennost'» [Materials of 10th international research conference “Old Belief: history, culture, modernity”] / ed. by V. I. Osipov. Moscow, s. n. Vol. I. 347 p. Pp. 325–338. (In Russ.).
Kostrov, A. V. (2018) Istorizm v sovremennom nastennom liste staroobriadtsev chasovennogo soglasiia [Historicism in the modern wall sheets of Old Believers of Chasovennye creed]. REOSIAHAG. Institute for Russian and Altaic Studies, Chungbuk National University, no. 17, pp. 229–262. (In Russ.).
Kostrov, A. V. and Bykova, E. V. (2016) «Dve dorogi — Dva puti»: mirovozzrenie staroverov-chasovennykh v lubochnykh khudozhestvennykh obrazakh ["Two roads — Two ways": the world picture of the Chasovennye Old Believers in the popular broadsides]. Res Humanitariae, vol. 20. Ed. by Rimantas Balsys. Klaipeda University Publishers. Pp. 58–67. (In Russ.).
Maslova, N. V. (2015) Staroobriadcheskii lubok kak nagliadnaia polemika i nazidanie v vere [Old Believers’ lubok (broadside) as a visual controversy and edification in the faith]. Kul'turnoe nasledie Rossii, no. 2, pp. 39–45. (In Russ.).
Plaksina, N. E. (2016) Staroobriadcheskii risovannyi lubok na Nizhnei Pechore: k voprosu o proiskhozhdenii i bytovanii [Old believer hand-drawn lubok of the Lower Pechora: its origin and use]. Dekorativnoe iskusstvo i predmetno-prostranstvennaia sreda, Vestnik MGKhPA, no. 4, pp. 235–248. (In Russ.).
Pokrovskii, N. N. (2005) Puteshestvie za redkimi knigami [A Journey for rare books]. Novosibirsk, Sova. 344 p. (In Russ.).
Pokrovskii, N. N. and Zol'nikova, N. D. (2002) Starovery-chasovennye na vostoke Rossii v XVIII–XX vv.: Problemy tvorchestva i obshchestvennogo soznaniia [Chasovennye Old Believers-chapels in the East of Russia from the 18th to 20th century: problems of creativity and public consciousness]. Moscow, Pamiatniki istoricheskoi mysli. 471 p. (In Russ.).
Tatarintseva, M. P. and Storozhenko, A. A. (2015) Staroobriadtsy Tuvy: retrospektiva i sovremennost' [The old believers of Tuva: a retrospective and modern view]. Saarbrucken, Lambert Academic Publishing. 137 p. (In Russ.).
Published
How to Cite
https://nit.tuva.asia/nit/article/view/831 (дата обращения: дд.мм.гг.). DOI: 10.25178/nit.2019.1.7
Kostrov A. V., Morris T. B. Visuality and Textuality in Hagiographic Posters of Old Believers of the Chasovennye (“chapel-going”) Denomination. The New Research of Tuva, 2019, no. 1 [on-line] Available at: https://nit.tuva.asia/nit/article/view/831 (accessed: ... ). DOI: 10.25178/nit.2019.1.7
Issue
Section
Author Biographies
Aleksandr V. Kostrov, Irkutsk State University
Doctor of History, Professor, Department of World History and International Relations, Irkutsk State University.
Postal address: 1 K. Marx St., Irkutsk, 664003 Russia.
Tel.: +7 (914) 929-40-50.
E-mail: a_kostrov@mail.ru
Tamara B. Morris, University of Oregon
Doctor of Philology, Honorary Professor, Faculty of Russian, East European, and Eurasian Studies, University of Oregon.
Postal address: 175 Prince Lucien Campbell 5281 University of Oregon, Eugene, OR 97403-5281, USA.
Tel.: +1 (541) 346-4078.
E-mail: yumsunova54@gmail.com
Author(s) license holder(s) grant rights for their work to the journal (grantee of a license) under the simple non-exclusive open license in accordance with Art. 1286.1 «Open license for a research work, work of literature or fine arts», Civil Code of the Russian Federation.
New Research of Tuva publishes articles under the Creative Commons Attribution-NonCommercial license (CC BY-NC).
Since it is an open license, author(s) reserve the right to upload the article to their institutional repository, submit it to another journal (if it allows republications), or republish it on their own website (in full, or in part).
However, several conditions apply here:
a) The republished version must always contain the name(s) and affiliation(s) of the author(s), the original title and the hyperlink to the original version on the New Research of Tuva website;
b) It must be in open access, free of charge, and no category of readers must be in any way whatsoever advantaged over general readership.
c) should the contribution be submitted elsewhere by its author(s) without substantial modification (30% or more of original text unchanged), the body of the article should contain a disclaimer that the original version was published in New Research of Tuva (with a link to the respective page)
The CC-BY-NC is a non-revocable license which applies worldwide and lasts for the duration of the work’s copyright.
