Christian Troelsgård - Byzantine neumes: A New Introduction to the Middle Byzantine Musical Notation

PARRÉSIARevue pro východní křesťanství /

A Journal of Eastern Christian Studies7

(2013)

Šéfredaktoři: Michal Řoutil a Pavel Milko

Čestný předseda redakční rady: Jan Blahoslav LášekRedakční rada: Walerian Bugel, Marek Dospěl, Evžen Kindler,

Vojtěch Kubec, Monika Langrock, Marina Luptáková, Jana A. Nováková, Haig Utidjian, Václav Ventura, Kamila Veverková, Gorazd J. Vopatrný

Výkonná redaktorka: Jana A. NovákováJazyková úprava: Michal Karas, Markéta A. HubováV rámci edice Pro Oriente. Dědictví křesťanského Východu vydává nakladatelství Pavel Mervart ve spolupráci s Ústavem východního křesťanství Husitské teologické fakulty Univerzity Karlovy v Praze a občanským sdružením AXIOS.Revue Parrésia je zařazena do Seznamu recenzovaných neimpaktovaných periodik vydávaných v ČRPříspěvky procházejí recenzním řízením. Nevyžádané rukopisy se nevracejí Periodicita: ročenkaWebová prezentace: www.parresia.czPokyny pro autory viz na http://www.parresia.cz/cz/o-nas/pro-autoryAdresa redakce: Michal Řoutil, Farní 1, 789 01 Zábřeh na Moravě, e-mail: [email protected] nakladatelství: Pavel Mervart, P. O. Box 5, 549 41 Červený KostelecGrafická úprava: Kateřina VytejčkováNa přední straně obálky: iluminace z hlaholského Assemanova evangeliáře, dříve Jeruzalém, dnes Vatikánská knihovna, 11. století; na zadní straně obálky: hlaholský text z tzv. Baščanské desky (Bašćanska ploča), ostrov Krk, kolem r. 1100.Tisk: Powerprint s.r.o., PrahaDistribuce: Kosmas, s. r. o. (www.kosmas.cz) a nakl. Pavel Mervart (www.pavelmervart.cz)Registrace MK ČR:

ISBN 978-80-7465-100-7ISSN 1802-8209

PARRÉSIARevue pro východní křesťanství /

A Journal of Eastern Christian Studies7

(2013)

Šéfredaktoři: Michal Řoutil a Pavel Milko

Čestný předseda redakční rady: Jan Blahoslav LášekRedakční rada: Walerian Bugel, Marek Dospěl, Evžen Kindler,

Vojtěch Kubec, Monika Langrock, Marina Luptáková, Jana A. Nováková, Haig Utidjian, Václav Ventura, Kamila Veverková, Gorazd J. Vopatrný

Výkonná redaktorka: Jana A. NovákováJazyková úprava: Michal Karas, Markéta A. HubováV rámci edice Pro Oriente. Dědictví křesťanského Východu vydává nakladatelství Pavel Mervart ve spolupráci s Ústavem východního křesťanství Husitské teologické fakulty Univerzity Karlovy v Praze a občanským sdružením AXIOS.Revue Parrésia je zařazena do Seznamu recenzovaných neimpaktovaných periodik vydávaných v ČRPříspěvky procházejí recenzním řízením. Nevyžádané rukopisy se nevracejí Periodicita: ročenkaWebová prezentace: www.parresia.czPokyny pro autory viz na http://www.parresia.cz/cz/o-nas/pro-autoryAdresa redakce: Michal Řoutil, Farní 1, 789 01 Zábřeh na Moravě, e-mail: [email protected] nakladatelství: Pavel Mervart, P. O. Box 5, 549 41 Červený KostelecGrafická úprava: Kateřina VytejčkováNa přední straně obálky: iluminace z hlaholského Assemanova evangeliáře, dříve Jeruzalém, dnes Vatikánská knihovna, 11. století; na zadní straně obálky: hlaholský text z tzv. Baščanské desky (Bašćanska ploča), ostrov Krk, kolem r. 1100.Tisk: Powerprint s.r.o., PrahaDistribuce: Kosmas, s. r. o. (www.kosmas.cz) a nakl. Pavel Mervart (www.pavelmervart.cz)Registrace MK ČR:

ISBN 978-80-7465-100-7ISSN 1802-8209

Editorial

Vážení čtenáři,

v roce 2013 jsme si připomněli hned několik významných jubileí spojených s východním křesťanstvím. Ve stínu poměrně široce pojatých oslav 1150. výro-čí od příchodu slovanských věrozvěstů na Velkou Moravu (863) nejen pra-voslavní křesťané vzpomínali událost neméně zásadní, i když tragickou, totiž 560 let (1453) od dobytí Konstantinopole osmanskými Turky.

Cyrilometodějské tematice se věnujeme v samostatném bloku zaměře-ném – na rozdíl a k doplnění většiny českých publikací – především na další osudy misie a její vliv na ostatní evropské národy. Předkládáme zde i první část překladu studie J. M. Vereščagina s novým, originálním výkla-dem vzniku hlaholice.

Pádu Cařihradu a jeho důsledkům pro kulturní vývoj Řecka i balkán-ských zemí se věnuje na širokém prostoru L. Havlíková, již doplňuje pře-klad eseje A. Schmemanna „Pravda byzantinismu“; poetický doplněk pak představuje první český překlad Žalozpěvu nad Konstantinopolí (M. Kul-hánková).

V sedmém čísle naší revue však najdete i mnoho dalších příspěvků, mj. o byzantských exorcismech, patriarchu Fotiovi, problematice zhudebnění českého liturgického textu podle byzantské tradice, ruských pravoslavných sborech v meziválečném Československu, arménských ódách, arabském spisu Jeskyně pokladů, knížeti Karel VI. Schwarzenbergovi a jeho pracích o ikonomalbě… a také nové překlady pramenů v oddílu „Fontes“ a rozsáh-lou recenzní část.

I v tomto čísle jsme kvůli zpoždění s vydáním některé z příspěvků aktua-lizovali.

Michal Řoutil, Pavel Milko

Editorial

Vážení čtenáři,

v roce 2013 jsme si připomněli hned několik významných jubileí spojených s východním křesťanstvím. Ve stínu poměrně široce pojatých oslav 1150. výro-čí od příchodu slovanských věrozvěstů na Velkou Moravu (863) nejen pra-voslavní křesťané vzpomínali událost neméně zásadní, i když tragickou, totiž 560 let (1453) od dobytí Konstantinopole osmanskými Turky.

Cyrilometodějské tematice se věnujeme v samostatném bloku zaměře-ném – na rozdíl a k doplnění většiny českých publikací – především na další osudy misie a její vliv na ostatní evropské národy. Předkládáme zde i první část překladu studie J. M. Vereščagina s novým, originálním výkla-dem vzniku hlaholice.

Pádu Cařihradu a jeho důsledkům pro kulturní vývoj Řecka i balkán-ských zemí se věnuje na širokém prostoru L. Havlíková, již doplňuje pře-klad eseje A. Schmemanna „Pravda byzantinismu“; poetický doplněk pak představuje první český překlad Žalozpěvu nad Konstantinopolí (M. Kul-hánková).

V sedmém čísle naší revue však najdete i mnoho dalších příspěvků, mj. o byzantských exorcismech, patriarchu Fotiovi, problematice zhudebnění českého liturgického textu podle byzantské tradice, ruských pravoslavných sborech v meziválečném Československu, arménských ódách, arabském spisu Jeskyně pokladů, knížeti Karel VI. Schwarzenbergovi a jeho pracích o ikonomalbě… a také nové překlady pramenů v oddílu „Fontes“ a rozsáh-lou recenzní část.

I v tomto čísle jsme kvůli zpoždění s vydáním některé z příspěvků aktua-lizovali.

Michal Řoutil, Pavel Milko

Obsah

Editorial 2

ORTHODOXIATomáš Mrňávek

Exorcismy a exorcisté v byzantské tradici 11Gorazd Josef Vopatrný

Svatý Fotios – hesychasta a učenec na konstantinopolském patriarším stolci 107

Dmitrij Igorevič Makarov Bohorodička jako ideál dokonalého hesychasty podle Theofana Nikájského (14. století) 131

Marios ChristouZhudebnění českého liturgického textu podle byzantské tradice 139

Kateřina IberlKoncertní aktivity pěveckého sboru Ruské pravoslavné farnosti u sv. Mikuláše v Praze ve 30. letech XX. století. Několik poznámek k ruské liturgické hudbě v českém kontextu 167

ORIENTALIAHaig Utidjian

On the printed sources of the “Ode of the Little Cart” 185Haig Utidjian

On the early Venetian manuscripts of the “Ode of the Little Cart” 205Mlada Mikulicová

Vyhnání z ráje podle Jeskyně pokladů 229Michal Řoutil

Křesťané Iráku ve 20. a na počátku 21. století. Zoufalství a naděje deset let po začátku okupace 245

MEZI VÝCHODEM A ZÁPADEMMichal Řoutil

Kníže Karel VI. Schwarzenberg a jeho učitel ikonomalby Pimen Maximovič Sofronov (na materiálu archivu Archeologického institutu N. P. Kondakova v Praze) 261

Obsah

Editorial 2


Exorcismy a exorcisté v byzantské tradici 11Gorazd Josef Vopatrný

Svatý Fotios – hesychasta a učenec na konstantinopolském patriarším stolci 107

Dmitrij Igorevič Makarov Bohorodička jako ideál dokonalého hesychasty podle Theofana Nikájského (14. století) 131

Marios ChristouZhudebnění českého liturgického textu podle byzantské tradice 139

Kateřina IberlKoncertní aktivity pěveckého sboru Ruské pravoslavné farnosti u sv. Mikuláše v Praze ve 30. letech XX. století. Několik poznámek k ruské liturgické hudbě v českém kontextu 167




Vyhnání z ráje podle Jeskyně pokladů 229Michal Řoutil

Křesťané Iráku ve 20. a na počátku 21. století. Zoufalství a naděje deset let po začátku okupace 245

MEZI VÝCHODEM A ZÁPADEMMichal Řoutil

Kníže Karel VI. Schwarzenberg a jeho učitel ikonomalby Pimen Maximovič Sofronov (na materiálu archivu Archeologického institutu N. P. Kondakova v Praze) 261

TEMATICKÝ BLOKDědictví nejcennější – osudy, vlivy a další vývoj

cyrilometodějské tradice (k 1150. výročí příchodu slovanských věrozvěstů na Velkou Moravu)

Jevgenij Michajlovič VereščaginKonstantin Filosof jako autor abecední geometrie aneb Další koncepce původu hlaholice (první část) (přeložili Jitka Komendová a Michal Řoutil) 285

Anatolij Arkaďjevič TurilovOsudy nejstarších slovanských literárních památek ve středověkých národně regionálních tradicích (přeložil Michal Téra) 323

Igor Nikolajevič EkonomcevByzantinismus, cyrilometodějské dědictví a pokřtění Rusi (přeložil Antonín Čížek) 341

FONTESPavel Milko

Formula unionis. Úvod, překlad a stručný komentář 357Alena Sarkissian

Klepání na nebeskou bránu: Nebeský žebřík Ióanna Klimaka (úvod a překlad z řečtiny) 367

Markéta KulhánkováPodivuhodné příběhy zbožnosti z pousteven i velkoměst a jejich cesta staletími (úvod a překlad z řečtiny) 379

Markéta KulhánkováŽalozpěv bezejmenného básníka nad dobytím Konstantinopole (úvod a překlad z řečtiny) 391

Z DějIN VěDyLubomíra Havlíková

Emigrace jako způsob lidské existence: Pád byzantské říše a její tradice v myšlení a kultuře jihovýchodní Evropy 399

ESEjAlexander Schmemann

Pravda byzantinismu (přeložil Antonín Čížek) 449

BIBLIOTHÉKAJana A. Nováková, Michal Řoutil

O cestách, které snad neměly být ani vykonány, aneb utrpení na skřipci odborném 457

Walerian Bugel Nad novými knihami na cyrilometodějské téma 473

Haig UtidjianOn the emergence of new volumes of chants of the Armenian Orthodox Church: some issues of notation, performance practice and musical genealogy 485

TEMATICKÝ BLOKDědictví nejcennější – osudy, vlivy a další vývoj

cyrilometodějské tradice (k 1150. výročí příchodu slovanských věrozvěstů na Velkou Moravu)

Jevgenij Michajlovič VereščaginKonstantin Filosof jako autor abecední geometrie aneb Další koncepce původu hlaholice (první část) (přeložili Jitka Komendová a Michal Řoutil) 285

Anatolij Arkaďjevič TurilovOsudy nejstarších slovanských literárních památek ve středověkých národně regionálních tradicích (přeložil Michal Téra) 323

Igor Nikolajevič EkonomcevByzantinismus, cyrilometodějské dědictví a pokřtění Rusi (přeložil Antonín Čížek) 341

FONTESPavel Milko

Formula unionis. Úvod, překlad a stručný komentář 357Alena Sarkissian

Klepání na nebeskou bránu: Nebeský žebřík Ióanna Klimaka (úvod a překlad z řečtiny) 367

Markéta KulhánkováPodivuhodné příběhy zbožnosti z pousteven i velkoměst a jejich cesta staletími (úvod a překlad z řečtiny) 379

Markéta KulhánkováŽalozpěv bezejmenného básníka nad dobytím Konstantinopole (úvod a překlad z řečtiny) 391

Z DějIN VěDyLubomíra Havlíková

Emigrace jako způsob lidské existence: Pád byzantské říše a její tradice v myšlení a kultuře jihovýchodní Evropy 399

ESEjAlexander Schmemann

Pravda byzantinismu (přeložil Antonín Čížek) 449

BIBLIOTHÉKAJana A. Nováková, Michal Řoutil

O cestách, které snad neměly být ani vykonány, aneb utrpení na skřipci odborném 457

Walerian Bugel Nad novými knihami na cyrilometodějské téma 473


ZPRÁVyHesychasmus jako badatelská výzva současnosti. Pražské přednášky

docenta jekatěrinburské státní konservatoře Dmitrije Igoreviče Makarova (Michal Řoutil) 517

Komplexní přístup ke studiu dějin a kultury staroobřadnictví. Kulatý stůl, Moskva, Rogožská svoboda, 17. května 2013 (Michal Řoutil) 525

Výstava Ikony v Muzeu Šumavy v Kašperských Horách (Michal Řoutil) 529Filozofia ako skúmanie a cesta života (Ján Zozuľak) 533Patristická konference 2013 – Patristická exegeze Písma (David Vopřada) 537

RECENZEJitka Komendová, Světec a šaman. Kulturní kontexty ruské středověké

legendy (Michal Řoutil) 543Mohammed Girma, Understanding Religion and Social Change in

Ethiopia. Toward a Hermeneutic of Covenant (Jan Záhořík) 547Siegbert Uhlig, Alessandro Bausi (eds.), Encyclopaedia Aethiopica,

Volume 4: O–X (Zdeněk Poláček) 550Julie Jančárková, Istorik iskusstva Nikolaj Ľvovič Okuněv (1885–1949).

Žiznennyj puť i naučnoje nasledije (Lubomíra Havlíková) 552Pavel Marek, Martin Lupčo, Nástin dějin pravoslavné církve v 19. a 20. století.

Prolegomena k vývoji pravoslaví v českých zemích, na Slovensku a na Podkarpatské Rusi v letech 1890–1992 (Jana A. Nováková) 557

Judith Herrin, Margins and Metropolis. Authority accross the Byzantine Empire (Vlastimil Drbal) 562

Leslie Brubaker, John Haldon, Byzantium in the iconoclast era, c. 680–850: a history (Marina Luptáková, Michal Řoutil) 566

Treasures in Storerooms. Book Review of Islamic Art at the Musée du Louvre, ed. Sophie Makariou; L’Orient romain et byzantin au Louvre, ed. Nicolas Bel et al. and L’Orient romain et byzantin au Louvre, ed. Nicolas Bel et al. (Elizabeth Williams) 573

Christian Troelsgård, Byzantine neumes: A New Introduction to the Middle Byzantine Musical Notation (Haig Utidjian) 576

Zoltán Biedermann, Soqotra. Geschichte einer christlichen Insel im Indischen Ozean vom Altertum bis zur frühen Neuzeit (Michal Řoutil) 580

Dvě nové knihy o Staré Káhiře. Peter Sheehan, Babylon of Egypt: The Archaeology of Old Cairo and the Origins of the City; Carolyn Ludwig a Morris Jackson (edd.), The History and Religious Heritage of Old Cairo, Its Fortress, Churches, Synagogue, and Mosque (Marek Dospěl) 583

Alastair Hamilton, The Copts and the West, 1439–1822: The European Discovery of the Egyptian Church (Marek Dospěl) 589

Redakční poznámka 595

OBRAZOVÉ PříLOHyUkázky hlaholských manuskriptů (připravil M. Řoutil)Svátek Žen s vonnými oleji, Rogožská sloboda, Moskva, 19. května 2013

(text a foto M. Řoutil)

ZPRÁVyHesychasmus jako badatelská výzva současnosti. Pražské přednášky

docenta jekatěrinburské státní konservatoře Dmitrije Igoreviče Makarova (Michal Řoutil) 517

Komplexní přístup ke studiu dějin a kultury staroobřadnictví. Kulatý stůl, Moskva, Rogožská svoboda, 17. května 2013 (Michal Řoutil) 525

Výstava Ikony v Muzeu Šumavy v Kašperských Horách (Michal Řoutil) 529Filozofia ako skúmanie a cesta života (Ján Zozuľak) 533Patristická konference 2013 – Patristická exegeze Písma (David Vopřada) 537

RECENZEJitka Komendová, Světec a šaman. Kulturní kontexty ruské středověké


Ethiopia. Toward a Hermeneutic of Covenant (Jan Záhořík) 547Siegbert Uhlig, Alessandro Bausi (eds.), Encyclopaedia Aethiopica,




Judith Herrin, Margins and Metropolis. Authority accross the Byzantine Empire (Vlastimil Drbal) 562


Treasures in Storerooms. Book Review of Islamic Art at the Musée du Louvre, ed. Sophie Makariou; L’Orient romain et byzantin au Louvre, ed. Nicolas Bel et al. and L’Orient romain et byzantin au Louvre, ed. Nicolas Bel et al. (Elizabeth Williams) 573



Dvě nové knihy o Staré Káhiře. Peter Sheehan, Babylon of Egypt: The Archaeology of Old Cairo and the Origins of the City; Carolyn Ludwig a Morris Jackson (edd.), The History and Religious Heritage of Old Cairo, Its Fortress, Churches, Synagogue, and Mosque (Marek Dospěl) 583


Redakční poznámka 595

OBRAZOVÉ PříLOHyUkázky hlaholských manuskriptů (připravil M. Řoutil)Svátek Žen s vonnými oleji, Rogožská sloboda, Moskva, 19. května 2013

(text a foto M. Řoutil)

COntents

Editorial 2


Exorcisms and exorcists in the Byzantine tradition 11Gorazd Josef Vopatrný

Saint Photios: hesychast and scholar on the Constantinopolitan Patriarchal throne 107

Dmitry Igorevich MakarovThe Holy Theotokos as a paragon of the perfect hesychast according to Theophanes of Nicaea (the 14th century) 131

Marios ChristouSetting a Czech liturgical text according to the Byzantine tradition 139

Kateřina IberlThe choir of the Russian Orthodox parish of St. Nicholas in Prague in the 1930s and its concert activities: a few notes about Russian church music in the context of the Czech milieu 167




The Expulsion from Paradise according to the Cave of Treasures 229Michal Řoutil

Iraqi Christians in the 20th and early 21st century: despair and hope ten years from the beginning of the occupation 245

BETWEEN EAST AND WESTMichal Řoutil

Karel VI Schwarzenberg and his teacher of icon painting Pimen Maksimovich Sofronov (based on the archival sources of the Archeological institute of N. P. Kondakov, Prague) 261

SPECIAL FEATUREThe most precious heritage: destiny, influence and further evolution

of the Cyrillo-Methodian tradition (on the 1,150th anniversary of the arrival of missionaries of the Slavs to the Great Moravia)

COntents

Editorial 2


Exorcisms and exorcists in the Byzantine tradition 11Gorazd Josef Vopatrný

Saint Photios: hesychast and scholar on the Constantinopolitan Patriarchal throne 107

Dmitry Igorevich MakarovThe Holy Theotokos as a paragon of the perfect hesychast according to Theophanes of Nicaea (the 14th century) 131

Marios ChristouSetting a Czech liturgical text according to the Byzantine tradition 139

Kateřina IberlThe choir of the Russian Orthodox parish of St. Nicholas in Prague in the 1930s and its concert activities: a few notes about Russian church music in the context of the Czech milieu 167




The Expulsion from Paradise according to the Cave of Treasures 229Michal Řoutil

Iraqi Christians in the 20th and early 21st century: despair and hope ten years from the beginning of the occupation 245

BETWEEN EAST AND WESTMichal Řoutil

Karel VI Schwarzenberg and his teacher of icon painting Pimen Maksimovich Sofronov (based on the archival sources of the Archeological institute of N. P. Kondakov, Prague) 261

SPECIAL FEATUREThe most precious heritage: destiny, influence and further evolution

of the Cyrillo-Methodian tradition (on the 1,150th anniversary of the arrival of missionaries of the Slavs to the Great Moravia)

Jevgeniy Mikhailovich VereshchaginConstantine the Philosopher as the author of the alphabetical geometry or another concept of the origin of the Glagolitic alphabet (first part) (translated by Jitka Komendová and Michal Řoutil) 285

Anatoly Arkadevich TurilovThe fate of the oldest Slavic literary monuments in medieval national and regional traditions (translated by Michal Téra) 323

Igor Nikolaevich EkonomtsevByzantinism, Cyrillo-Methodian heritage and baptism of the Rus (translated by Antonín Čížek) 341

FONTESFormula unionis (translation and commentary by Pavel Milko) 357Knocking at the heaven’s door: john Climacus’ Ladder of the Divine

Ascent (foreword and translation by Alena Sarkissian) 367Miraculous stories of piety from hermitages and cities and their

journey thorough the centuries (foreword and translation by Markéta Kulhánková) 379

Lamentation / threnos of an anonymous poet on the capture of Constantinople (foreword and translation by Markéta Kulhánková) 391

HISTORy OF SCIENCELubomíra Havlíková

Emigration as a way of human existence: the fall of Byzantine empire and its tradition in the thinking and culture of South-Eastern Europe 399

ESSAyAlexander Schmemann

The truth of “byzantinism” (translated by Antonín Čížek) 449

BIBLIOTHECAJana A. Nováková, Michal Řoutil

On journeys which it would have been better not to make or sufferings on the research rack 457

Walerian BugelOver the new books on the Cyril and Methodius theme 473


REPORTSHesychasm as a current research challenge: the Prague lectures

by Dmitry I. Makarov (Michal Řoutil) 517A comprehensive approach to the study of history and culture of the Old

Believers: round table, Moscow (Michal Řoutil) 525

Jevgeniy Mikhailovich VereshchaginConstantine the Philosopher as the author of the alphabetical geometry or another concept of the origin of the Glagolitic alphabet (first part) (translated by Jitka Komendová and Michal Řoutil) 285

Anatoly Arkadevich TurilovThe fate of the oldest Slavic literary monuments in medieval national and regional traditions (translated by Michal Téra) 323

Igor Nikolaevich EkonomtsevByzantinism, Cyrillo-Methodian heritage and baptism of the Rus (translated by Antonín Čížek) 341

FONTESFormula unionis (translation and commentary by Pavel Milko) 357Knocking at the heaven’s door: john Climacus’ Ladder of the Divine

Ascent (foreword and translation by Alena Sarkissian) 367Miraculous stories of piety from hermitages and cities and their

journey thorough the centuries (foreword and translation by Markéta Kulhánková) 379

Lamentation / threnos of an anonymous poet on the capture of Constantinople (foreword and translation by Markéta Kulhánková) 391

HISTORy OF SCIENCELubomíra Havlíková

Emigration as a way of human existence: the fall of Byzantine empire and its tradition in the thinking and culture of South-Eastern Europe 399

ESSAyAlexander Schmemann

The truth of “byzantinism” (translated by Antonín Čížek) 449

BIBLIOTHECAJana A. Nováková, Michal Řoutil

On journeys which it would have been better not to make or sufferings on the research rack 457

Walerian BugelOver the new books on the Cyril and Methodius theme 473


REPORTSHesychasm as a current research challenge: the Prague lectures

by Dmitry I. Makarov (Michal Řoutil) 517A comprehensive approach to the study of history and culture of the Old

Believers: round table, Moscow (Michal Řoutil) 525

The exhibition “Icon” in the Museum of Šumava, Kašperské Hory (Michal Řoutil) 529

Philosophy as inquiry and way of life (Ján Zozuľak) 533Patristic exegesis: an annual national patristic conference

(David Vopřada) 537

REVIEWSJitka Komendová, Světec a šaman. Kulturní kontexty ruské středověké


Ethiopia: Toward a Hermeneutic of Covenant (Jan Záhořík) 547Siegbert Uhlig, Alessandro Bausi (eds.), Encyclopaedia Aethiopica,




Judith Herrin, Margins and Metropolis: Authority accross the Byzantine Empire (Vlastimil Drbal) 562


Treasures in Storerooms: Book Review of Islamic Art at the Musée du Louvre, ed. Sophie Makariou; L’Orient romain et byzantin au Louvre, ed. Nicolas Bel et al. and L’Orient romain et byzantin au Louvre, ed. Nicolas Bel et al. (Elizabeth Williams) 573



Two new books about Old Cairo – Peter Sheehan, Babylon of Egypt: The Archaeology of Old Cairo and the Origins of the City; Carolyn Ludwig a Morris Jackson (edd.), The History and Religious Heritage of Old Cairo, Its Fortress, Churches, Synagogue, and Mosque (Marek Dospěl) 583


Editors’ note 595

COLOUR PLATESGlagolitic manuscripts (prepared by M. Řoutil)The Feast of the Myrrhophore women in Rogozhskoe, Moscow,

19 May 2013 (text and photography by M. Řoutil)

The exhibition “Icon” in the Museum of Šumava, Kašperské Hory (Michal Řoutil) 529

Philosophy as inquiry and way of life (Ján Zozuľak) 533Patristic exegesis: an annual national patristic conference

(David Vopřada) 537

REVIEWSJitka Komendová, Světec a šaman. Kulturní kontexty ruské středověké


Ethiopia: Toward a Hermeneutic of Covenant (Jan Záhořík) 547Siegbert Uhlig, Alessandro Bausi (eds.), Encyclopaedia Aethiopica,




Judith Herrin, Margins and Metropolis: Authority accross the Byzantine Empire (Vlastimil Drbal) 562


Treasures in Storerooms: Book Review of Islamic Art at the Musée du Louvre, ed. Sophie Makariou; L’Orient romain et byzantin au Louvre, ed. Nicolas Bel et al. and L’Orient romain et byzantin au Louvre, ed. Nicolas Bel et al. (Elizabeth Williams) 573



Two new books about Old Cairo – Peter Sheehan, Babylon of Egypt: The Archaeology of Old Cairo and the Origins of the City; Carolyn Ludwig a Morris Jackson (edd.), The History and Religious Heritage of Old Cairo, Its Fortress, Churches, Synagogue, and Mosque (Marek Dospěl) 583


Editors’ note 595

COLOUR PLATESGlagolitic manuscripts (prepared by M. Řoutil)The Feast of the Myrrhophore women in Rogozhskoe, Moscow,

19 May 2013 (text and photography by M. Řoutil)

576

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In the end, L’Orient romain et byzantin’s unorthodox presentation offers a strong argument for the inclusion of material and visual studies alongside historical inquiries dominated by the study of texts. Indeed, the objects provide an immediate sense of the worlds described by texts. For example, we can get a clear sense of the cultural stew from which Christianity emerged by paging through the catalogue’s beautiful images of small sculptures of Greco-Egyptian gods (pp. 261–275), Jewish ossuaries (pp. 346–353), or a set of sculptures from a Mithraeum (pp. 238–239), all of which date from the first through fourth centuries CE.

The two books reviewed here show the diversity of possible approaches museums can employ when publishing the treasures in the storerooms in catalogues. The catalogue of the Islamic department provides extensive, updated information about individual objects as part of an overall effort at re-evaluating a canonical collection. The Eastern Mediterranean catalogue, in contrast, endeavors to situate objects in historical questions outside the immediate field of art history. Both catalogues demonstrate the importance of returning to old collections as part of better understanding not only the past, but also the historiography of the fields which shape how those collections have been received in scholarship.

Elizabeth Williams

Christian TroelsgårdByzantine neumes: A New Introduction to the Middle Byzantine Musical Notation

Museum Tusculanum Press, Copenhagen 2011,142 pp., hardback; includes Quick Reference CardISBN 978-87-635-3158-0

Denmark has a long and proud tradition of Byzantine studies. Many readers of Parrésia will be well aware of Ada Adler’s critical edition of the Suda Lexicon, which she published in five volumes (1928-1935). But a no less distinguished endeavour, and one still ongoing, is the series Monumenta Musicae Byzantinae (MMB), founded in 1931 in Copenhagen by Carsten Høeg in collaboration with Egon Wellesz and H. W. J. Tillyard. The series soon became legendary for its magnificent publications of facsimiles of Byzantine manuscripts, together with transcriptions as well as studies of the notation, history and theory of the

576

Recenze

In the end, L’Orient romain et byzantin’s unorthodox presentation offers a strong argument for the inclusion of material and visual studies alongside historical inquiries dominated by the study of texts. Indeed, the objects provide an immediate sense of the worlds described by texts. For example, we can get a clear sense of the cultural stew from which Christianity emerged by paging through the catalogue’s beautiful images of small sculptures of Greco-Egyptian gods (pp. 261–275), Jewish ossuaries (pp. 346–353), or a set of sculptures from a Mithraeum (pp. 238–239), all of which date from the first through fourth centuries CE.

The two books reviewed here show the diversity of possible approaches museums can employ when publishing the treasures in the storerooms in catalogues. The catalogue of the Islamic department provides extensive, updated information about individual objects as part of an overall effort at re-evaluating a canonical collection. The Eastern Mediterranean catalogue, in contrast, endeavors to situate objects in historical questions outside the immediate field of art history. Both catalogues demonstrate the importance of returning to old collections as part of better understanding not only the past, but also the historiography of the fields which shape how those collections have been received in scholarship.

Elizabeth Williams

Christian TroelsgårdByzantine neumes: A New Introduction to the Middle Byzantine Musical Notation

Museum Tusculanum Press, Copenhagen 2011,142 pp., hardback; includes Quick Reference CardISBN 978-87-635-3158-0

Denmark has a long and proud tradition of Byzantine studies. Many readers of Parrésia will be well aware of Ada Adler’s critical edition of the Suda Lexicon, which she published in five volumes (1928-1935). But a no less distinguished endeavour, and one still ongoing, is the series Monumenta Musicae Byzantinae (MMB), founded in 1931 in Copenhagen by Carsten Høeg in collaboration with Egon Wellesz and H. W. J. Tillyard. The series soon became legendary for its magnificent publications of facsimiles of Byzantine manuscripts, together with transcriptions as well as studies of the notation, history and theory of the

Recenze

577

music of the Byzantine Rite. The series has been under the administration of the Royal Danish Academy of Sciences and Letters, and has done much to further its professed objective of making generally available the musical traditions of the Byzantine era.

The series itself opened with the publication in Copenhagen of Tillyard’s Handbook of the Middle Byzantine Musical Notation (as MMB Subsidia Vol. I, Fasc. 1) in 1935 – a small volume which served to introduce the Middle Byzantine system of musical notation to several generations. The Handbook was reprinted in 1970, with a postscript by the then director of the MMB, Oliver Strunk (whose Source Readings in Music History have been well thumbed by virtually all university music students). By the 1990s it had long been out-of-print, and was generally acknowledged as requiring – and deserving – an updated version. Jørgen Raasted was invited by the MMB Editorial Board to write an up-to-date treatment. Sadly, he passed away in 1995, leaving behind only an unfinished, five-page sketch, which, however, did include a preface – in which he stated the objective of emulating the original publication in many ways whilst at the same time enlarging its scope to provide a general introduction to the field of Byzantine chant. In 1996, Dr. Christian Troelsgård (MMB secretary since 1995 and, more recently, a Member of the Royal Danish Academy of Sciences and Letters) was entrusted with the task of bringing the project to successful completion. It was planned that he would use Raasted’s sketch as a point of departure, but was given sufficient latitude to develop the work in his own preferred directions. His primary aim has been (according to his preface to the volume) to provide an introduction and companion to the MMB facsimile volumes – indeed much as Tillyard’s Handbook had aimed to do. There was, of course, a very substantial need to update the earlier volume in the light of modern scholarship and the enhanced – and in some cases modified – understanding that advances had caused over the decades since 1935. However, there was now also a very significant difference in the underlying philosophy – a difference which informed Troelsgård’s position in a fundamental way, and which he himself considers to be of particular importance: whereas in the past the various chant pieces were deemed to be closed works of art, defined by their scores, Troelsgård’s approach seeks to acknowledge the notated chants as “witnesses to an organic musical culture”. This approach will be seen to offer considerable intellectual as well as practical advantages.

The book is organised into seven chapters, followed by a substantial appendix featuring black-and-white facsimiles of particular manuscripts with known date and provenance, and ending with a valuable and highly up-to-date bibliography; this is of particular importance, since the main body of the book was completed in 2000, and publication was delayed by a decade – during which time much significant work in the field was published. The introductory chapters are devoted to the verbal texts (and include valuable insights on issues such as accentuation), transmission prior to the neumes and the transition from the “adiastematic” to the “diastematic”, in turn leading to a succinct presentation of

Recenze

577

music of the Byzantine Rite. The series has been under the administration of the Royal Danish Academy of Sciences and Letters, and has done much to further its professed objective of making generally available the musical traditions of the Byzantine era.

The series itself opened with the publication in Copenhagen of Tillyard’s Handbook of the Middle Byzantine Musical Notation (as MMB Subsidia Vol. I, Fasc. 1) in 1935 – a small volume which served to introduce the Middle Byzantine system of musical notation to several generations. The Handbook was reprinted in 1970, with a postscript by the then director of the MMB, Oliver Strunk (whose Source Readings in Music History have been well thumbed by virtually all university music students). By the 1990s it had long been out-of-print, and was generally acknowledged as requiring – and deserving – an updated version. Jørgen Raasted was invited by the MMB Editorial Board to write an up-to-date treatment. Sadly, he passed away in 1995, leaving behind only an unfinished, five-page sketch, which, however, did include a preface – in which he stated the objective of emulating the original publication in many ways whilst at the same time enlarging its scope to provide a general introduction to the field of Byzantine chant. In 1996, Dr. Christian Troelsgård (MMB secretary since 1995 and, more recently, a Member of the Royal Danish Academy of Sciences and Letters) was entrusted with the task of bringing the project to successful completion. It was planned that he would use Raasted’s sketch as a point of departure, but was given sufficient latitude to develop the work in his own preferred directions. His primary aim has been (according to his preface to the volume) to provide an introduction and companion to the MMB facsimile volumes – indeed much as Tillyard’s Handbook had aimed to do. There was, of course, a very substantial need to update the earlier volume in the light of modern scholarship and the enhanced – and in some cases modified – understanding that advances had caused over the decades since 1935. However, there was now also a very significant difference in the underlying philosophy – a difference which informed Troelsgård’s position in a fundamental way, and which he himself considers to be of particular importance: whereas in the past the various chant pieces were deemed to be closed works of art, defined by their scores, Troelsgård’s approach seeks to acknowledge the notated chants as “witnesses to an organic musical culture”. This approach will be seen to offer considerable intellectual as well as practical advantages.

The book is organised into seven chapters, followed by a substantial appendix featuring black-and-white facsimiles of particular manuscripts with known date and provenance, and ending with a valuable and highly up-to-date bibliography; this is of particular importance, since the main body of the book was completed in 2000, and publication was delayed by a decade – during which time much significant work in the field was published. The introductory chapters are devoted to the verbal texts (and include valuable insights on issues such as accentuation), transmission prior to the neumes and the transition from the “adiastematic” to the “diastematic”, in turn leading to a succinct presentation of

578

Recenze

the Byzantine systems of notation preceding and succeeding the Middle Byzantine system. This leads the reader to the two core chapters devoted to the principal features of the system. The first of these (Chapter IV) introduces the reader to the MMB transcription system, but also to other systems, demonstrating these with examples from the work of van Biezen, Raasted and Stathis, and introducing the system to be adopted in the remainder of the book. Appropriately, the author cautions the reader with the important and salutary proviso (p. 39-40):

As in any reconstruction of medieval plainchant, the dynamic properties of the neumes, the rhythm and the actual structure of the scales of the Middle Byzantinenotation can only be reached approximately. Therefore, it is advisable always to study the medieval Byzantine melodies on the basis of the original neume text, andnot only through a transcription, in order to furnish the reader with a tool toevaluate a given interpretation.

The heart of the book is Chapter V, which introduces the signs of the Middle Byzantine notation. These are presented with great clarity, in sizeable tables designed to make a strong visual impact, accompanied by explanatory or supporting material – much of it presented as succinct and very precisely-formulated paragraphs of text, numbered for ease of cross-referencing. Thus, for example, article 28 presents, in six pithy points, the main rules for the combination of signs. The reader is immediately provided with a table (Example 20a-b, p. 45) incorporating a large variety of conceivable combinations. As with virtually all the examples presented in the book, these are by no means contrived by the author, but are actually taken from real codices (in this case Barb. gr. 300, fol. 4v-5r). The reader is thus motivated to test and extend his understanding by having a go at “real” examples. This appears to be one of the fundamental paedagogical tenets underlying the book, and is very much to be applauded – indeed, the volume is lavish with its numerous musical examples as well as facsimile reproductions. Further material presented in tabular form includes a Conspectus of rhythmic signs and a Conspectus of phrasing signs and group signs – both of which are amplified by explanatory numbered paragraphs.

The next chapters introduce more advanced work. These include a discussion of the oktoechos, modality, signatures, intonations, intervals, and modulation. This, in turn, leads to a careful discussion of chromaticism – couched in very precise terms. Indeed, the issue of chromaticism perhaps warrants a brief aside here. Early MMB transcriptions into modern staff notation were criticised for being presented in a manner which could have been potentially misleading in some ways, and which, taken at face value (as it sometimes unfortunately was), served to expose the considerable mismatch between the notation when so transcribed and what could actually be heard in Greek churches at the time (and which had been recorded in the Chrysanthine notation since the early nineteenth century). This was accompanied by a temptation to make a priori assumptions on parallels between the modal systems of the Byzantine and Gregorian traditions. Of course, the fact is that the intriguing analogies and

578

Recenze

the Byzantine systems of notation preceding and succeeding the Middle Byzantine system. This leads the reader to the two core chapters devoted to the principal features of the system. The first of these (Chapter IV) introduces the reader to the MMB transcription system, but also to other systems, demonstrating these with examples from the work of van Biezen, Raasted and Stathis, and introducing the system to be adopted in the remainder of the book. Appropriately, the author cautions the reader with the important and salutary proviso (p. 39-40):

As in any reconstruction of medieval plainchant, the dynamic properties of the neumes, the rhythm and the actual structure of the scales of the Middle Byzantinenotation can only be reached approximately. Therefore, it is advisable always to study the medieval Byzantine melodies on the basis of the original neume text, andnot only through a transcription, in order to furnish the reader with a tool toevaluate a given interpretation.

The heart of the book is Chapter V, which introduces the signs of the Middle Byzantine notation. These are presented with great clarity, in sizeable tables designed to make a strong visual impact, accompanied by explanatory or supporting material – much of it presented as succinct and very precisely-formulated paragraphs of text, numbered for ease of cross-referencing. Thus, for example, article 28 presents, in six pithy points, the main rules for the combination of signs. The reader is immediately provided with a table (Example 20a-b, p. 45) incorporating a large variety of conceivable combinations. As with virtually all the examples presented in the book, these are by no means contrived by the author, but are actually taken from real codices (in this case Barb. gr. 300, fol. 4v-5r). The reader is thus motivated to test and extend his understanding by having a go at “real” examples. This appears to be one of the fundamental paedagogical tenets underlying the book, and is very much to be applauded – indeed, the volume is lavish with its numerous musical examples as well as facsimile reproductions. Further material presented in tabular form includes a Conspectus of rhythmic signs and a Conspectus of phrasing signs and group signs – both of which are amplified by explanatory numbered paragraphs.

The next chapters introduce more advanced work. These include a discussion of the oktoechos, modality, signatures, intonations, intervals, and modulation. This, in turn, leads to a careful discussion of chromaticism – couched in very precise terms. Indeed, the issue of chromaticism perhaps warrants a brief aside here. Early MMB transcriptions into modern staff notation were criticised for being presented in a manner which could have been potentially misleading in some ways, and which, taken at face value (as it sometimes unfortunately was), served to expose the considerable mismatch between the notation when so transcribed and what could actually be heard in Greek churches at the time (and which had been recorded in the Chrysanthine notation since the early nineteenth century). This was accompanied by a temptation to make a priori assumptions on parallels between the modal systems of the Byzantine and Gregorian traditions. Of course, the fact is that the intriguing analogies and

Recenze

579

apparent similarities between Eastern and Western chant that emerged from such an approach were in many instances striking and highly plausible – as Prof. Evžen Kindler’s work in the Czech Republic has eloquently demonstrated. However, one shortcoming of such an approach was its tendency unwittingly to divorce the notation from the historical context of the performing tradition of Byzantine chant – a long and venerable ongoing tradition, and one whose vitality is undiminished today. Troelsgård’s mindset, keen to place the notation in the context of an evolving musical culture, naturally enables the adoption of a circumspect and balanced position on this and other issues, and his treatment of potentially controversial aspects such as chromaticism provides a case in point. His discussion is supported along each and every step by clear, logical argument based on a rigorous and critical use of primary sources, and is refreshingly free of polemic of any kind. The reader is thus able to get a clear idea of what may be known with certainty, what may be reasonably conjectured, and – crucially – what remains unknown at the present time: there is no attempt to minimise the latter category.

The last chapter provides a tantalisingly brief introduction to various chant styles, including simple psalmody, automelon/proshomoion singing, the Heirmologion, Stichérarion, Psaltikon and Asmatikon. The final section introduces the kalophonic styles. Each is generously illustrated with extensive examples.

The choice of Christian Troelsgård by the 1996 Editorial Board Meeting of the MMB in Copenhagen was fortunate indeed. The author wears his expertise lightly, whilst at the same time infecting the reader with his enthusiasm and palpable sense of discovery. In addition to his track record in researching primary sources (which is second to none), the author has a special gift as an expositor of ideas, and for the optimal organisation and clear presentation of a prodigiously wide-ranging body of knowledge. One is thus not surprised in the slightest to find that he was voted “teacher of the year” by students at the Saxo Institute (formerly known as the Institute of Greek and Latin) of the University of Copenhagen. Moreover, Troelsgård’s lucid and elegant logical organisation of the material is matched by first-class design, and the manner of graphical organisation of the material on the printed page meets the highest standards. The way in which references and additional notes are presented follows a layout which many readers will know from (for example) Jaroslav Pelikan’s Christianity and Classical Culture (Yale, 1993): footnote material is presented on generous side margins, in smaller (but still conveniently legible) print. However, whensoever the size of any of the copious musical illustrations requires further space, good use is made of the whole width of the page. The contents of the book are thus presented in a manner that is not only logically felicitous in its organisation, but also visually well-structured and pleasing to the eye. A small pocket within the back cover includes an extremely useful summary in the shape of a “Quick Reference Card” – which may indeed be deemed to provide the proverbial “icing on the cake”. Its inclusion is yet one more indication of the fact that no

Recenze

579

apparent similarities between Eastern and Western chant that emerged from such an approach were in many instances striking and highly plausible – as Prof. Evžen Kindler’s work in the Czech Republic has eloquently demonstrated. However, one shortcoming of such an approach was its tendency unwittingly to divorce the notation from the historical context of the performing tradition of Byzantine chant – a long and venerable ongoing tradition, and one whose vitality is undiminished today. Troelsgård’s mindset, keen to place the notation in the context of an evolving musical culture, naturally enables the adoption of a circumspect and balanced position on this and other issues, and his treatment of potentially controversial aspects such as chromaticism provides a case in point. His discussion is supported along each and every step by clear, logical argument based on a rigorous and critical use of primary sources, and is refreshingly free of polemic of any kind. The reader is thus able to get a clear idea of what may be known with certainty, what may be reasonably conjectured, and – crucially – what remains unknown at the present time: there is no attempt to minimise the latter category.

The last chapter provides a tantalisingly brief introduction to various chant styles, including simple psalmody, automelon/proshomoion singing, the Heirmologion, Stichérarion, Psaltikon and Asmatikon. The final section introduces the kalophonic styles. Each is generously illustrated with extensive examples.

The choice of Christian Troelsgård by the 1996 Editorial Board Meeting of the MMB in Copenhagen was fortunate indeed. The author wears his expertise lightly, whilst at the same time infecting the reader with his enthusiasm and palpable sense of discovery. In addition to his track record in researching primary sources (which is second to none), the author has a special gift as an expositor of ideas, and for the optimal organisation and clear presentation of a prodigiously wide-ranging body of knowledge. One is thus not surprised in the slightest to find that he was voted “teacher of the year” by students at the Saxo Institute (formerly known as the Institute of Greek and Latin) of the University of Copenhagen. Moreover, Troelsgård’s lucid and elegant logical organisation of the material is matched by first-class design, and the manner of graphical organisation of the material on the printed page meets the highest standards. The way in which references and additional notes are presented follows a layout which many readers will know from (for example) Jaroslav Pelikan’s Christianity and Classical Culture (Yale, 1993): footnote material is presented on generous side margins, in smaller (but still conveniently legible) print. However, whensoever the size of any of the copious musical illustrations requires further space, good use is made of the whole width of the page. The contents of the book are thus presented in a manner that is not only logically felicitous in its organisation, but also visually well-structured and pleasing to the eye. A small pocket within the back cover includes an extremely useful summary in the shape of a “Quick Reference Card” – which may indeed be deemed to provide the proverbial “icing on the cake”. Its inclusion is yet one more indication of the fact that no

580

Recenze

effort appears to have been spared to enhance to the maxiumum extent possible the user-friendliness of the book. All the above make this volume a real pleasure to use.

Dr. Troelsgård and his admirable editorial team at the Museum Tusculanum Press deserve our whole-hearted congratulations for an exceptionally fine volume, which we feel able to recommend without reservation.

Haig Utidjian1

Zoltán BiedermannSoqotra. Geschichte einer christlichen Insel im Indischen Ozean vom Altertum bis zur frühen Neuzeit

Edice „Maritime Asia“, vol. 17, Harrassowitz Verlag, Wiesbaden 2006, 232 s., il.ISBN 978-3-447-05421-8

V době, která právě nyní usilovně směřuje k vytvoření dalších bílých míst na mapě křesťanského Východu – jaký posun od hic sunt leones po hic nulli chris-tiani sunt! – je důležité připomínat si, kam všude sahala naše civilizace ještě poměrně nedávno.

Kniha Zoltána Biedermanna Sokotra. Křesťanský ostrov v Indickém oceánu pojednává právě o takovém místě. Tento neveliký kousek země, dnes patřící Jemenské republice, představoval od příchodu křesťanství v prvních staletích našeho letopočtu (dle tradice ostrov dokonce navštívil již v roce 52 sv. Tomáš) po dlouhou dobu významný opěrný bod nové víry – jako součást rozvětvené sítě biskupství Církve Východu, tj. nestoriánů, od Mezopotámie po Čínu – v této oblasti. Vzpomeňme, co o obyvatelích ostrova vyprávěl svému písaři Marko Polo ještě ve 13. století: „Jsou křtěnými křesťany a mají biskupa, který je jejich pánem a nepodléhá papeži v Římě, nýbrž jistému Zatoliovi, který sídlí

1 The author gratefully acknowledges receipt of the Internal Grant VG180 from the Philosophical Faculty of the Charles University in Prague: Tento výstup vznikl v rámci projektu „The music of the Armenian Hymnal: the 19th-century Western Armenian School, its international context, issues of notation and of performance practice“ řešeného na Filozofické fakultě Univerzity Karlovy v Praze z prostředků Specifického vysokoškolského výzkumu na rok 2014.

580

Recenze

effort appears to have been spared to enhance to the maxiumum extent possible the user-friendliness of the book. All the above make this volume a real pleasure to use.

Dr. Troelsgård and his admirable editorial team at the Museum Tusculanum Press deserve our whole-hearted congratulations for an exceptionally fine volume, which we feel able to recommend without reservation.

Haig Utidjian1

Zoltán BiedermannSoqotra. Geschichte einer christlichen Insel im Indischen Ozean vom Altertum bis zur frühen Neuzeit

Edice „Maritime Asia“, vol. 17, Harrassowitz Verlag, Wiesbaden 2006, 232 s., il.ISBN 978-3-447-05421-8

V době, která právě nyní usilovně směřuje k vytvoření dalších bílých míst na mapě křesťanského Východu – jaký posun od hic sunt leones po hic nulli chris-tiani sunt! – je důležité připomínat si, kam všude sahala naše civilizace ještě poměrně nedávno.

Kniha Zoltána Biedermanna Sokotra. Křesťanský ostrov v Indickém oceánu pojednává právě o takovém místě. Tento neveliký kousek země, dnes patřící Jemenské republice, představoval od příchodu křesťanství v prvních staletích našeho letopočtu (dle tradice ostrov dokonce navštívil již v roce 52 sv. Tomáš) po dlouhou dobu významný opěrný bod nové víry – jako součást rozvětvené sítě biskupství Církve Východu, tj. nestoriánů, od Mezopotámie po Čínu – v této oblasti. Vzpomeňme, co o obyvatelích ostrova vyprávěl svému písaři Marko Polo ještě ve 13. století: „Jsou křtěnými křesťany a mají biskupa, který je jejich pánem a nepodléhá papeži v Římě, nýbrž jistému Zatoliovi, který sídlí

1 The author gratefully acknowledges receipt of the Internal Grant VG180 from the Philosophical Faculty of the Charles University in Prague: Tento výstup vznikl v rámci projektu „The music of the Armenian Hymnal: the 19th-century Western Armenian School, its international context, issues of notation and of performance practice“ řešeného na Filozofické fakultě Univerzity Karlovy v Praze z prostředků Specifického vysokoškolského výzkumu na rok 2014.

Christian Troelsgård - Byzantine neumes: A New Introduction to the Middle Byzantine Musical Notation

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