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The article discusses the East Syriac literary circle of the of the early Ottoman Empire period. Its most important representative is ʿAbdīšōʿ of Gāzartā, the second patriarch of the new Church (1555–1570), and also an outstanding poet,... more
The article discusses the East Syriac literary circle of the of the early Ottoman Empire period. Its
most important representative is ʿAbdīšōʿ of Gāzartā, the second patriarch of the new Church
(1555–1570), and also an outstanding poet, whose legacy remains to a large extent unstudied,
though. Even less is known about the works of his contemporaries, such as Darwīš of Gāzartā,
Abrāhām of Bēt Slōk and ʿAṭāyā of Gāzartā. They communicated with him, and he devoted his
poems at least to the first two of them, despite their belonging to the traditionalist (“Nestorian”)
patriarchate. Based on the texts and manuscripts unknown before, the paper shows in the article
that the literary circle of that period was determined not by the Church affiliation, but rather
geographically. ʿAbdīšōʿ as well as the poets he communicated with originated from the town of
Gāzartā (North Mesopotamia, present Turkey) or from its neighbourhood, and some of them
might have been his relatives. As a result of the long coexistence with Persian and Arabic Islamic
culture, the sphere of use of poetry in the Syriac tradition was expanding in the next centuries. Its
further development in the 16th century is one of numerous examples of wide use of the literary
canons created in the period of so-called Syriac Renaissance (11th–14th centuries). In the Ottoman
time, the extension of poetry use reached its apogee, taking into consideration also numerous
short poems written by the scribes as verse additions to various manuscripts.
Keywords: Syriac poetry, Chaldean Church, Christian communities in the Ottoman Empire,
Gāzartā literary circle, monastic literature, manuscript transmission.
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The paper discusses Syriac verse texts from the Ottoman period which are connected with the history of the Chaldean (East Syriac Uniate) Church. They were composed by ' Adbīšō' of Gazarta, the second patriarch of the new Church... more
The paper discusses Syriac verse texts from the Ottoman period which are connected with the history of the Chaldean (East Syriac Uniate) Church. They were composed by ' Adbīšō' of Gazarta, the second patriarch of the new Church (1555–1570), an outstanding literate, whose legacy has been significantly neglected by researchers. The pieces discussed in the present paper typify their very early samples epitomizing the beginning of this literary tradition that was connected with the name of ' Adbīšō' of Gazarta. They were devoted to the Popes of Rome, with whom the young Chaldean Church had intensive contacts and whose supremacy it was in the process of acknowledging. Until recently, scholars have lacked access to most of the numerous textual corpora of this Church; as a result, research on these manuscripts had been confined to their catalogue descriptions, printed in the early–20 th century. Although they have never been an object of detailed study so far, the short pieces discussed here, composed on various occasions, contain important evidence for both the history of Syriac literature and the history of the Christian Churches in this region. The names mentioned in the poems can be easily identified, which would serve to date the texts to certain periods of ' Adbīšō''s Church career. The present paper is the first attempt of a detailed study and a critical edition of his poems dedicated to the Roman Catholic Popes.
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Christianity, Comparative Religion, Comparative Literature, Church Music, Medieval Philosophy, and 98 more
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“O ringdove! Where are you heading for?” — a Syriac dialogue poem of the late 13th century Until recently Syriac poetry of the so-called Syriac Renaissance period of the 11th–14th centuries has attracted little attention of scholars for... more
“O ringdove! Where are you heading for?” — a Syriac dialogue
poem of the late 13th century
Until recently Syriac poetry of the so-called Syriac Renaissance period
of the 11th–14th centuries has attracted little attention of scholars for being
treated mostly as secondary, if compared to the Islamic literatures in Arabic
and Persian. In fact, Syriac classical poems of the 4th–7th centuries
seem to be wholly original, while pieces created after the Arabic conquest
bear essential signs of external influences. Nevertheless, the Syriac literature
did not lose its originality and, according to recent studies, was in
346 «На пастбище Мысли Благой»
search of new forms, enriching its own tradition with poetic achievements
of neighboring cultures. Among the most notable figures of that epoch was
an East-Syriac poet Ḵāmīs bar Qardāḥē (the late 13th — early 14th centuries)
who experimented with new forms and metrics, e. g. in quatrains
modeled on Persian rubāʽī and short poems resembling ghazals. In some
manuscripts of his works among sōgītā (short strophic) poems there is a
piece addressed to the bird (‘ringdove’) which symbolizes a human
soul, as it follows from the poem’s headings. The central motive of
the poem is the bird’s departure, i. e. the soul’s take-off, what is also noted
in the headings. Thus, the piece is composed on behalf of the dying body
which is complaining of the death to come and fearing the uncertainty of
its future destiny. The poem has never been studied or published before.
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History, Comparative Literature, Music, Church Music, Musicology, and 97 more
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In the liturgical literature of the Church of East (the so-called Nestorian), the Wardā collection, meant for the liturgical performance at night services on the festival days and Sundays of the whole liturgical year, holds a special... more
In the liturgical literature of the Church of East (the so-called Nestorian), the Wardā collection, meant for the liturgical performance at night services on the festival days and Sundays of the whole liturgical year, holds a special place. Strophic hymns – ōnītā (pl. ōnyātā) – contained in the collection are still a part of the liturgy of the East Syrian Church. Altogether, the collection comprises more than 120 hymns, most of which are ascribed to Gīwargīs Wardā (13th century), who is the eponym of this book. According to their content, the hymns can be divided into five categories: exegetic, hagiographic, apocryphal narratives, describing historical events and calamities, dedicated to other subjects.
The first part of the book is a detailed study of the textual, poetical and historical peculiarities of the Wardā collection. Ist evolution stages and the main types have been reconstructed. A special chapter focuses on the position of this book in Syriac church literature and defines ist main sources. The second part represents a critical edition of 35 hymns from the Wardā collection according to the existing manuscripts, including English translations. Many of these hymns have been translated for the first time.
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Music, Church Music, Music Education, Music History, Music Theory, and 117 more
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Ambiguous saint Muhammad Bashshara, buried in the Mazar-i Sharif mausoleum close to Panjakent (Tajikistan), is usually described in scholarly works as “hadith connoseur” and one of the successors (tabiʽun or tabaʽ tabiʽun) of the closest... more
Ambiguous saint Muhammad Bashshara, buried in the Mazar-i Sharif mausoleum close to Panjakent (Tajikistan), is usually described in scholarly works as “hadith connoseur” and one of the successors (tabiʽun or tabaʽ tabiʽun) of the closest associates of the prophet Mihammad. The article studies the origins of such attribution. According to the authors, the first part (interpretation of Muhammad Bashshara as the hadith connoseur) came into scholarly literature from Samarqand faqihs of the 19th century, in particular from the work “Samariyya” by Abu Tahir Samarqandi, the Russian translation of which was published by V. Vyatkin in 1898. The second part of the attribution (the sain’ts ties with the prophet Mihammad) apparently derives from the folklore image. This image can be found in an anonymous poem, published in 1993 in Khujand by the mausoleum’s curator after and unknown manuscript, and in the written account of a story told by a local mullah made by Alexander Kuhn’s secretary ʽAbd al-Rahman Samarqandi in 1870. Moreover, the article analyses inscriptions left by pilgrims on the walls of the tomb, the oldest of which dates back to 968 AH / 1578-79 AD.
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Sidney H. Griffith / Sven Grebenstein (Eds.): Christsein in der islamischen Welt. Festschrift für Martin Tamcke zum 60. Geburtstag. Wiesbaden: Harrassowitz, 2015, 345–357.
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Pritula, A. (2015) “Syriac Poetry in the Mongol Time: From Monastery Cells to Royal Tents”, Gosudarstvo, religiia, tserkov’ v Rossii i za rubezhom 33 (2): 88-117. The Syriac poetry of the 11–14th centuries (so-called Syriac... more
Pritula, A. (2015) “Syriac Poetry in the Mongol Time: From Monastery Cells to Royal Tents”, Gosudarstvo, religiia, tserkov’ v Rossii i za rubezhom 33 (2): 88-117.

The Syriac poetry of the 11–14th centuries (so-called Syriac Renaissance) has been studied very poorly so far. One of the reasons is a traditional approach of the scholars, who treated this poetry as secondary to the strongly developed Islamic literature. The reason for changing of its character was the final fall of the Caliphate (1258) and the emergence of a new state in the area of Iran and Iraq with the Mongol dynasty, headed by Ilkhans (Hulaguids). The tolerance and sympathies of the rulers towards Christianity allowed the Syriac tradition to reach the royal palace, which also influenced the poetic style. In the article, an attempt is made to show how the poetry reflected political and social life of that period. Besides, it is argued that it had its original features, which were the result of the synthesis of its own traditions and the achievements of the Islamic culture. One of the creators of this new style was Gregory Bar ʿEbrōyō (1226–1286), a famous West-Syrian philosopher and scientist. His aesthetics was further developed by his East-Syrian contemporary Khāmīs bar Qardaḥē of Arbela, who used sophisticated rhythm and rhyme schemes to achieve a stronger effect on the royal court elite.
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Christianity, Music, Church Music, Music History, Music Theory, and 112 more
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Aesthetics, Art History, Ottoman History, Art, Persian Literature, and 116 more
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The exhibition ‘Brush and Qalam’ marks the 200th anniversary of the Asiatic Museum (the Institute of Oriental Manuscripts of the Russian Academy of Sciences), one of the world’s richest collections of Oriental manuscripts. The exhibition... more
The exhibition ‘Brush and Qalam’ marks the 200th
anniversary of the Asiatic Museum (the Institute of Oriental
Manuscripts of the Russian Academy of Sciences),
one of the world’s richest collections of Oriental manuscripts.
The exhibition aims to showcase the beauty of
decoration as well as the variety and unique identity of
different types of Oriental manuscripts from the cultural and
historical perspective.
The catalogue introduces its readers to a selection
of manuscripts and blockprints produced by peoples of
the East, whose array of book cultures over the last two
millennia spanned an area from Europe all the way to Japan.
For the sake of convenience, exhibits are grouped
into three big sections, each one concerned with a big
region characterised by the unity of culture and history:
1) Near East and Middle East; 2) India and Central Asia;
3) Far East. Largely formal, this separation is linked not
so much to geography as to the spread and movement
of cultures. Thus, at different points of time, the bulk of
Central Asia was dominated by different religious traditions,
first Buddhism and then Islam, which gave birth
to diverse book cultures, reaching back to India and the
Middle East respectively. It is for that reason that the
books created in this region are dealt with in two separate
sections. The same applies to India of the Mughal
period, which saw the bloom of the Muslim book culture,
so intimately linked to the Persian one, which is described
in the ‘Near East’ section.
The catalogue features 200 exhibits, among which
manuscripts and blockprints from the holdings of the
Institute of Oriental Manuscripts as well as artefacts related
to the production and use of books from the State
Hermitage Museum. This relationship is interpreted as
broadly as possible, embracing not only objects that are
directly associated with the making and reading of books
(brushes, qalams, pencases, inkwells, woodblocks), but
also religious items used alongside books (icons, crosses,
ornaments), visual parallels in decoration (clothes,
mural fragments), objects connected with their buyers
and owners (coins) and finally pieces reproducing the
cultural environment of the epoch. The manuscripts
from each section are put in chronological order, and
the objects are grouped so as to give a better picture of
the cultural and visual context within which books were
made and used in the East.
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An exhibition of a masterpiece from Al Thani collection and contemporary objects, showing the ways of transformation of Antique motives in early Islamic art.
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This is a current volume of the "Christian Orient" journal that has just come out.
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History, Intellectual History, Cultural History, Cultural Studies, Archaeology, and 110 more
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In the liturgical literature of the Church of East (the so-called Nestorian), the Wardā collection, meant for the liturgical performance at night services on the festival days and Sundays of the whole liturgical year, holds a special... more
In the liturgical literature of the Church of East (the so-called Nestorian), the Wardā collection, meant for the liturgical performance at night services on the festival days and Sundays of the whole liturgical year, holds a special place. Strophic hymns – ōnītā (pl. ōnyātā) – contained in the collection are still a part of the liturgy of the East Syrian Church. Altogether, the collection comprises more than 120 hymns, most of which are ascribed to Gīwargīs Wardā (13th century), who is the eponym of this book. According to their content, the hymns can be divided into five categories: exegetic, hagiographic, apocryphal narratives, describing historical events and calamities, dedicated to other subjects. The first part of the book is a detailed study of the textual, poetical and historical peculiarities of the Wardā collection. Ist evolution stages and the main types have been reconstructed. A special chapter focuses on the position of this book in Syriac church literature and defines ist main sources. The second part represents a critical edition of 35 hymns from the Wardā collection according to the existing manuscripts, including English translations. Many of these hymns have been translated for the first time.
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Religion, Christianity, History, Music, Church Music, and 155 more
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The exhibition includes some three hundred objects, most of them displayed to the public for the first time, opening up the world of Ibn Battuta, following the route of his travels (1325-1354) and presenting different aspects of life with... more
The exhibition includes some three hundred objects,
most of them displayed to the public for the first
time, opening up the world of Ibn Battuta, following
the route of his travels (1325-1354) and presenting different
aspects of life with which he came into contact. It
provides a superb opportunity to bring together artistic
objects from very different lands, from Spain
to China, from the Volga to Central Africa, emphasising
not only their individual features but their
common links in the late medieval period.
Items from the Hermitage include ceramics, textiles,
metalwork and glass, architectural details and
coins. Many of them bear inscriptions with the names
of renowned figures, whom Ibn Battuta said he had
met on his travels.
The second participating institution, the Russian
National Library, has loaned more than thirty unique
Muslim (Arabic and Persian), Christian and Hebrew
manuscripts. Through these masterpieces, many of
them exhibited for the first time, we are able to present
the intellectual context, the reading material
and art of the age of Ibn Battuta.
The Mardjani Foundation (Moscow) is the third
participant in the exhibition, lending metal and ceramics
but also unique costumes dating from the
late thirteenth and early fourteenth centuries. Superbly
preserved, they illustrate the everyday world
of the ruling elite.
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Historical Geography, Islamic Law, Aesthetics, Medieval Literature, Persian Literature, and 112 more
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The catalogue of the exhibition held in the Pushkin Museum of Fine Arts in Moscow presents the detailed researches on every exhibit as well as historical essays on the Islamic art in different countries and periods. Authors of the... more
The catalogue of the exhibition held in the Pushkin Museum of Fine Arts in Moscow presents the detailed researches on every exhibit as well as historical essays on the Islamic art in different countries and periods. Authors of the catalogue are leading international experts. Editor and exhibition curator – Galina Lasikova.
The edition includes a study on the East Syriac hymnological collection Warda (13th-16th cent.)+ 35 hymns in the Syriac original and Russian translation.
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Christianity, Mythology And Folklore, Music, Church Music, Music History, and 186 more
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The first text being discussed has been recently published, but using only one MS that was available to me at that time. It is found in many MSS of the Divan (poem collection) of Khāmīs bar Qardāḥē, an East Syriac poet (late 13 th... more
The first text being discussed has been recently published, but using only one MS that was available to me at that time. It is found in many MSS of the Divan (poem collection) of Khāmīs bar Qardāḥē, an East Syriac poet (late 13 th century) that are used in the current presentation. One of its tasks is to show the variety of readings shown in rendering glosses in the Turkish stanzas, in contrast to a relative unity in the Syriac ones. That might be explained by a low level standardization of the Turkic Garshuni tradition. Besides, the poem being discussed is one of the earliest – if not the very earliest – texts of this group. It should be dated to the period close to the life of Khāmīs, but was not necessarily composed by this poet, since it is absent from the earliest of the existing MS. All the Syriac stanzas, in the shape quatrains, are composed here in 7-7-8-8 meter. Each of them has its own internal rhyme, in a constant scheme, i.e. in every first, second and verse (ааха). In the Turkic stanzas the verses have an irregular meter variation from eight up to ten syllables. The rhyming is arranged here in the mode ааbb, except for stanza 10, which, though, could be a scribal mistake. In the Turkic translation of the Syriac original one can meet a lot of Syricisms, such as br marym (the Son of Marie), a stable combination used in the texts. Such a broad use of borrowings, both in vocabulary and syntax, is common for translated texts of religious character, in particular for liturgical ones, where the closeness to the original might have been of great importance. An example of such an approach is provided by translations of the Holy Scriptures into Persian, made in the Mongol time too. The second text under discussion is a short lyrical poem attributed to the same author. It contains a lot of Persian glosses, which is indicated in the title. Unlike the Syro-Turkic poem this one combines Persian and Syriac sentences in each verse. Such an unusual method together with using the topoi popular in the Persian lyrical poetry makes us assume that the piece has a character of a parody to the latter.
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Christianity, Translation Studies, Medieval Literature, Medieval History, Arabic Poetry, and 88 more
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