The contributors to this 1992 book examine various aspects of the relationship among Christianity and the visual arts, architecture and music in Russia. Within this broad area the book concentrates on specific topics rather than attempting a broad survey. Nonetheless, the range of material extends from the earliest stages of the introduction of Byzantine art forms in Kievan Russia to the relation between Christian and folk decorative/iconographic motifs to the use of religious imagery in the work of contemporary filmmaker Andrei Tarkovskii. The related interests of the contributors create a concentration of topics in certain periods such as the late nineteenth and early twentieth centuries. Some of the chapters are academically specialized, others are easily accessible to a general audience; but all are based on thorough and careful scholarship. Christianity and the Arts in Russia is based on, but not limited to, a symposium held at the Library of Congress in 1988 to mark the millennium of Russian Christianity.

The contributors to this 1992 book examine various aspects of the relationship among Christianity and the visual arts, architecture and music in Russia. Within this broad area the book concentrates on specific topics rather than attempting a broad survey. Nonetheless, the range of material extends from the earliest stages of the introduction of Byzantine art forms in Kievan Russia to the relation between Christian and folk decorative/iconographic motifs to the use of religious imagery in the work of contemporary filmmaker Andrei Tarkovskii. The related interests of the contributors create a concentration of topics in certain periods such as the late nineteenth and early twentieth centuries. Some of the chapters are academically specialized, others are easily accessible to a general audience; but all are based on thorough and careful scholarship. Christianity and the Arts in Russia is based on, but not limited to, a symposium held at the Library of Congress in 1988 to mark the millennium of Russian Christianity.

This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide.

In its scope and command of primary sources and its generosity of scholarly inquiry, Nikolai Findeizen's monumental work, published in 1928 and 1929 in Soviet Russia, places the origins and development of music in Russia within the context of Russia's cultural and social history.

Volume 2 of Findeizen s landmark study surveys music in court life during the reigns of Elizabeth I and Catherine II, music in Russian domestic and public life in the second half of the 18th century, and the variety and vitality of Russian music at the end of the 18th century."

In its scope and command of primary sources and its generosity of scholarly inquiry, Nikolai Findeizen's monumental work, published in 1928 and 1929 in Soviet Russia, places the origins and development of music in Russia within the context of Russia's cultural and social history.

Volume 2 of Findeizen s landmark study surveys music in court life during the reigns of Elizabeth I and Catherine II, music in Russian domestic and public life in the second half of the 18th century, and the variety and vitality of Russian music at the end of the 18th century."

Originally published in 1916, Serbia in Light and Darkness is Velimirovic's retelling of the history of his people. He wishes to share with the Western world the story of his people at their best and the story of his people at their worst-a history that many are completely unfamiliar with. Velimirovic speaks on the character of the Serbian soul and how the suffering endured by his countrymen has forged them into a unique people with an abiding faith. Offering a deep understanding of culture and national pride, this small book will be of interest to religious scholars, historians, and anyone with a passion for understanding international relations. Serbian bishop NIKOLAJ VELIMIROVIC (1880-1956) was a member of the Orthodox church and prominent, though controversial theological writer: though canonized by the Orthodox church, some of his writings are considered anti-Semitic. Among his most prominent writings are The Religious Spirit of the Slavs (1916) and Beyond Sin and Death (1914).

Dragoljub Velimirovic was a former Yugoslav – Serbian, chess grandmaster whose international career was handicapped by political intrigues and his outspoken temperament. During the heyday of the USSR as the greatest national chess power, the former Yugoslavia was capable of running the Soviet Union a good second. Dragoljub Velimirovic posed a real threat to the men from Moscow.  Velimirovic was born in 1942 to a prominent family from Valjevo, in the former Yugoslavia. He was introduced to chess at the age of seven by his mother, Jovanka Velimirovic, one of Yugoslavia’s leading female chess players. He died at the age 72, being one of the last players to develop a system or strategy that is so inventive it bears its creator’s name. It is a feat that is unlikely to be repeated in the modern era, when computer-based games and databases so thoroughly dominate competition that it is almost impossible to come up with something new. That does not mean that players were more talented or courageous in the decades when Velimirovic was in his prime. Velimirovic, who became a grandmaster in 1973, was never among the 20 top-ranked players in the world. And that was when there were only 200 or so grandmasters; today, there are about 2,400.