Літургійні тексти празника Преображення у контексті розвитку візантійського богослужіння

Abstract

У статті досліджено особливості розвитку гимнографічних текстів служби Преображення в контексті розвитку візантійського богослужіння. Розглянуто грецькі, грузинські та слов’янські літургійні ненотовані збірники. Охарактеризовано процес формування візантійського уставу шляхом синтезу катедральних і монаших літургійних традицій.

В статье исследованы особенности развития гимнографических текстов службы Преображения в контексте развития византийского богослужения. Рассмотрены греческие, грузинские и славянские литургические ненотованые сборники. Охарактеризован процесс формирования византийского устава путем синтеза кафедральных и монашеских литургических традиций.

The question of the repertoire of the feast service is an important part of its liturgical and musical essence study, which needs first source material. Orthodox worship had different stages of development and was imprinted in the hymnography and church statutes. Diversity of liturgical material needed arrangement and creating of the clear mechanisms of its alternation, complementarity. A certain order was formed within both a separate service, as well as daily, weekly and annual cycles. The issue of the statute, the rules of the organic combination of different genres material is fundamental when considering hymnography drama. After all, it defined not only the content and order of chants in liturgical collections but also testified about certain liturgical practices of certain Christian communities or local territory, whence comes one or another manuscript. Feast of the Transfiguration belongs to a series of Lord’s holidays to which Modern Greek and Slavic euchology attribute little evening liturgy, evening liturgy with lithium and the blessings of bread, Morning Liturgy and liturgy. However, a retrospective analysis of Typicon, tropolohion, euchology, and noted liturgical collections illustrates the long process of forming the repertoire of the feast service in different regions of the Byzantine rite distribution. The oldest liturgical collection containing the hymnography material of Jerusalem worship of before iconic period is ancient Yadgari – translation of Greek Lectures and Tropolohion on Georgian language, made in the VIII – beginning of IX century. A complete list of ancient Yadgari published in 1980 under the guidance of Helen Metreveli, Ts. Chankyeva and L. Hevsuriani, likened by its structure to Lectionary of Jerusalem Church, which contained psalms and monstrophones – troparion. The analysis of the poetic troparion of Jerusalem lecture, which in a small amount is preserved in the Greek version, certifies its use as rhythmic patterns for writing the verse of the early Byzantine hymnographers. With regard to the canons, the Georgian translators of Tropolicon follow the verbal translation, neglecting the syllabic and tonic principles of Greek poetry. The liturgical poetry of the Byzantine rite, as well as the rubric, regulating its use, was formed within the Antiochian liturgical tradition. Among the prayer practices of local Christian apostolic communities of Asia Minor and Palestine such centers gradually emerged as temple of St. Sophia in Constantinople, Monastery Theodore Studite, Temple of Resurrection in Jerusalem, monastery of St. Sava and Athos. Each of these main cores of ceremonial “fermentation” created new forms of worship and transformed, supplemented already existing ones guided mostly by the requires of time and place.