Hilandarski zbornik
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Рукописни служабници библиотеке манастира Хиландара као извори за реконструкцију развоја српског богослужења од XIII до XIX века
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In the contemporary manuscript collection of Chilandar monastery there are thirty seven manuscript service books. Out of these, three manuscripts are from XIII, five from XIV, four from XV, six from XVI, ten from XVII, two from XVIII and seven from XIX century. A part of these manuscripts cannot be understood to be liturgies in the fullest sense of the term, whether they are fragments of larger and lost wholes, or intentionally abridged liturgical text for use by deacons. The importance of the manuscript collection of Chilandar monastery for research of the liturgical life of the Orthodox Church cannot be denied. This does not apply only on the classical Byzantine liturgical formulae of Saint John Chrysostom and Basil the Great or the Liturgy of the Presanctified Gifts. Due to the famous Chil. 322 manuscript that contains the Liturgy of Saint James the Apostle and so-called Liturgy of Saint Peter the Apostle, we can follow the use of these formulae in Slavic surroundings. The manuscript collection of Chilandar monastery is used for research of wider thematic worship frameworks than the ones that deal exclusively with liturgical problematics. It allows the analysis of the development of sacramental and, taken extensively, prayer life of the Church, such as the consecration of sacral space. In the majority of manuscript service books of Chilandar there are variants of Philotheus’ liturgical formulae, among whom the manuscripts of Serbian-Athonite redaction are dominant, and based on whom the first Serbian and Slavic printed service books were prepared and printed. This collection was shown to be especially valuable in research of the appearance of the Troparion of the Third Hour in Slavic worship. The earliest appearance of this liturgical innovation in the Chilandar collection is in Chil. 323 manuscript from the third quarter of XV century, belonging to the Russian redaction of Philoteus’ Diataxis. With that in view, Chilandar’s collection was shown to be important for the research of the historic development of whole Slavic worship, i.e. worship in Slavic language of different redactions, not solely Serbian one, as it could be ascertained at first.
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Хиландарска икона Богородице Тројеручице
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The paper deals with the history of the greatest holy item of Chilandar, the icon of the Three-Handed Theotokos, in particular the time frame of its creation and arrival in Mt. Athos, the origins of the painter and the spread of the cult of this miracle-working icon in Serbia and beyond. Much has been written about the icon of the Virgin Tricherousa. And yet, the analysis of written sources, presented in the introductory part of the paper, shows that there is a certain divergence between ecclesiastic tradition and scientific claims, which makes it very difficult in studying the subject to distinguish historical fact from myth and legend. The article further cites sources in studying the history of the icon of the Panagia Tricherousa (Παναγία Τριχερούσα), the most important being king Milutin’s charter of 1300 to the monastery of St. George in Skoplje. Among the property of the monastery, the document includes the estate of the episcopal Church of the Virgin Tricherousa, which may have been the keeping place of the eponymous icon, starting from the late 13th century at the latest. The sources further point to the year 1347, when tsar Dušan issued the charter of his coronation, which raised the episcopal Church of the Three-handed Theotokos to the rank of a protothronos metropolitanate in that same year. Keeping in mind that the Virgin Tricherousa icon is stylistically linked to tsar Dušan’s rule, the paper presents the hypothesis that he may have commissioned a new icon in the old one’s image. The icon could have been taken from Skoplje to Chilandar during tsar Dušan’s 1347–1348 stay at Mt. Athos. Relying on the latest scientific research, the paper highlights the viewpoint that the icon of the Panagia Tricherousa, kept today at Chilandar, was painted in the early 18th century to replace an earlier one – no longer in existence, when it had deteriorated after centuries of liturgical use. The switch may have occurred in the second quarter of the 18th century, i.e. between the first and second visit of monk and travel writer Vassily Grigorovich Barsky to Mt. Athos. In 1744, Barsky was the first to note that the third hand in the Virgin Tricherousa icon was not painted, but forged in silver and attached to the Mother of God’s maphorion, as seen on the icon today. Placing the Three-handed Theotokos icon in the context of the 19th-century ep och, when it originated, the paper focuses its attention on the iconography and the style of the icon, including the representation of St. Nicholas on the back. The detailed description of the icon underscores its iconographic particularities – the Three-handed Theotokos of Chilandar is not the Mother of God with three hands, but a Mother of God Hodegetria type, holding however the Christ child on her right arm, not the left, as customary for the Hodegetria type. Finally, the closing portion of the paper points out the importance that the Virgin Tricherousa icon has held for the Serbian people and traces the path of the spread of its cult across Serbia and other Orthodox countries, especially Russia.
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