Кондак на Вознесіння як зразок гимнографічного жанру: богословсько-поетичний контекст

Abstract

У статті досліджено гимнографічний макрожанр кондака на прикладі кондака на Вознесіння. Розглянуто походження та його місце і роль у ранній східнохристиянській гимнографії. Проведено богословський і літературно-структуральний аналіз оригінального тексту повного кондака на Вознесіння. Охарактеризовано богословський зміст і поетику кондака на Вознесіння і його значення в історичній гимнографії.

В статье исследовано гимнографический макрожанр кондака на примере кондака на Вознесение. Рассмотрено происхождение и его место и роль в ранней восточнохристианской гимнографии. Проведено богословский и литературно-структуральный анализ оригинального текста полного кондака на Вознесение. Охарактеризовано богословское содержание и поэтику кондака на Вознесение и его значение в исторической гимнографии.

The kontakion is the oldest and the first hymnographic genre in the Liturgy of the Eastern Church. The hymnographic macro-genre includes the kontakion and the canon because in both cases we are dealing with expended phenomena of the epic theological liturgical poetry which mostly keeps a clear melodic and rhythmic structure. The history of this hymnographic proto-genre, which became the basis for the modern canon is quite short. After its appearance in the Byzantine Liturgy at the beginning of the VIth century, already in VIIIth century the canon began to replace the kontakion and later completely superseded it. However, the kontakion as a big hymnographic genre has had an enormous influence on hymnographic poetry. The paper aims to explore the theological and the poetic content of the Kontakion of the Ascension. The author consistently considers the original Greek texts of the kontakion and presents a detailed picture of this theological poem which a full kontakion actually is. The research shows that each of the 18 ikos that resonates with the theological thought of the Church Fathers, as well as with dogmatic formulations of the Ecumenical Councils. At the same time, the kontakion is a refined poetry which lays a fundament for future poetics of the Byzantine canon and of the entire Eastern hymnography. In particular, the Kontakion of the Ascension is a liturgical poem that praises in a poetic way this Event and its significance in the history of the salvation. In addition, the kontakion’s vision conveys the emotional side of the event of the Ascension. Thus, the Mystery of the Ascension in the hymnographic genre of the kontakion is presented as a historical event that occurred on the Mount of Olives, whose witnesses disciples of the Savior were and, at the same time, as the metahistorical eternal truth which completely fulfills God’s plan of the salvation and starts the countdown of its final implementation in Parousia. The study shows that the kontakion is one of the most vivid examples of hymnographic work which absorbed the experience of the early generations of the Christian community. The kontakion widely uses biblical exegesis and the material that includes a reflection of the theological thinking of the Church which, starting from the apostolic kerygma, resonates with the patristic thought and dogmatic assertions of the Councils. Besides, the kontakion, through its responsorial singing, is one of the best examples of the dialogic nature of the Christian worship.