Christianity and magic: Mysterious Suzdal serpentine-amulet of the XII century. Grand Duke Mstislav

2024 Author: Richard Flannagan | [email protected]. Last modified: 2023-12-15 23:55

The article by AV Ryndina "The Suzdal Serpentine" is devoted to an interesting and complex monument that attracted the attention of many researchers. The main provisions of this article can be formulated as follows: 1) the Suzdal coil was made in the early 20s of the XII century. for the Grand Duke Mstislav as an ancient Russian master who followed the Byzantine tradition; 2) in terms of its ideological content, the monument is associated with the heresy of the Bogomils, that is, in the initial sources - with Manichaeism.

In the article by MV Shchepkina that appeared after A. V. Ryndina's work, the monument of interest to us is also devoted to several pages. M. V. Schepkina believes that the Suzdal serpentine belonged to Princess Maria Ivanovna, the wife of the Vladimir prince Vsevolod, and considers it to be made by an ancient Russian master.

Leaving aside the question of which of the Russian princes or princesses the serpentine could belong to, we consider it necessary to pay attention to a number of data that remained outside the field of vision of both authors and dwell on some of the problems associated with the attribution of this monument.

In 1926 A. S. Orlov suggested that.

The only argument given by A. V. Ryndin in favor of the ancient Russian origin of the serpentine is the Russian inscription, organically combined, in her opinion, with the image.

The same argument is decisive in the attribution of M. V. Shchepkina, although she notes that the circular inscriptions on the serpentine are not simultaneous with the images. However, the currently known data on the Byzantine serpentines make it possible to substantiate the correctness of A. S. Orlov's assumption.

Summarizing the conclusions of numerous researchers about amulets of this kind, it can be considered proven that images on the coils, as well as the nature of the incantatory formulas (separate images and epithets), are associated with the magical treatise "Testamentum Solomonis" ("The Testament of Solomon") and with the incantatory prayers that arose on its basis. The head surrounded by snakes was, according to medieval magical ideas, the image of a multi-named demon, most often called Gilu, but had up to twelve, and sometimes more names. The snakes moving away from the head personified the various intrigues of the devil. Such an image of intrigues was tantamount to recognizing them, and this, in turn, protected the wearer from them.

Amulets of the "Chernigov grivna" type (ie, with the image of the Archangel Michael and the twelve-headed snake's nest) should be dated to the 11th-12th centuries. The iconographic type of the Archangel Michael, stylistic features and epigraphic features of the incantatory inscription speak in favor of this date.

Turning to the side of the Suzdal serpentine, where a snake's nest is presented, consisting of six snakes extending from the head placed in the center, it should be emphasized that compositions of this type, like “snake nests” in general with a small (no more than eight) number of heads, are unknown on ancient Russian serpentines, while they are quite common on Byzantine serpentines. Among the latter, two groups of monuments are clearly distinguished: serpentines "seven-headed" (1st group) and serpentines "twelve-headed" (2nd group). Based on the research of M. I. Sokolov, it can be traced that the serpentines, depending on the appearance of the serpentine figure, are associated with various apocryphal, both in content and in the time of greatest distribution. So, "twelve-headed" serpentines correspond to the description of the multi-named demon, which is given in the Byzantine medieval incantatory prayers, which became widespread by the 12th century. In these prayers, it is emphasized that the demon had twelve heads (names), corresponding to his twelve wiles, that the image of these twelve names was protection from a harmful demon: του οιχ, ου εκείνοι) (where there are twelve of my names, I will not enter that house and the baby of this house) 15 and έχοντα το φϋλακτήριον τούτο αποδιώκει μέ από τόν οΤκον who has this.] from your home ").

The serpentine figure on the "seven-headed" serpentines can be compared with the description of the devil in the magical treatise "The Testament of Solomon". In this apocrypha, one of the demons appears to Solomon in the form of seven female spirits, representing the seven planets and the seven wiles he introduced into the human race. It is curious to note the similarity between the "snake's nest" and the description of the demon given in the "Testament". As you know, on serpentines, a demonic dragon-like creature is presented in the form of an effeminate head without a body occupying the center, from which snakes depart. In the "Testament" it is said that the demon is "an effeminate spirit, whose head comes from each member" (πνεΰμα γυναΐκοειδές τήν κορυφήν κατέχουσα από παντός μέλουις) 18, and the body is, as it were, hidden in darkness (άματο

The excerpts from the incantatory prayers and Testamentum Solomonis allow us to establish that the “seven-headed” serpentines - we are interested in this type of monuments - are not associated with incantatory prayers that arose on the basis of the “Covenant”, but with the “Testament” itself. This magical treatise was especially famous in the early Byzantine period (IV-VII centuries), as evidenced by the large number of amulets depicting Solomon striking a disease, and with incantatory inscriptions in which Solomon's seal is mentioned. There is also evidence that this treatise was also known during the period of iconoclasm. However, later he is not mentioned in the sources. In any case, in the XI century. Michael Psellus wrote about this work as one apocryphal book that he found, that is, at that time, the Testament was obviously known only to a few erudites.

Considering all of the above, it can be considered the XI century. as if "border" between two groups of Byzantine serpentines. At this time, “twelve-headed” coils appear, which replace, but do not completely displace, coils of the first group.

The latter, on the basis of the epigraphic features of the inscriptions on them, archaeological data (in cases where they are established) and some iconographic features of the images combined with the "snake's nest", can be dated to the 10th-11th centuries.

Thus, the bulk of the serpentines of the first group, associated with "Testamentum Solomonis", date from the 10th - early 11th centuries, and the serpentines of the second group, associated with incantatory prayers that arose on the basis of this apocrypha, - to the end of the 11th-12th centuries. However, it should be noted that the presence of individual specimens of the 1st group. (these include, in particular, the serpentine from Maestricht), dated according to stylistic features of the 12th century. and thus ascending to the archaic tradition.

As you can see, according to the structure of the serpentine figure, the Suzdal serpentine belongs to the first group of Byzantine amulets, not being in any way unique among them. The absence of other ancient Russian amulets similar to the Suzdal one is explained, as it seems to us, by the fact that the Russian serpentines, the production of which began to improve in the 11th century, had amulets common at that time in Byzantium as a model. These were the "twelve-headed" ones. They, as the most typical specimens for their time ("seven-headed" in this period were not widespread in Byzantium anymore), were brought to Russia and were the models for local serpentines. Thus, from the point of view of the structure of the "snake nest", the Suzdal serpentine is a typical Byzantine amulet, made in an archaic tradition for its time.

The composition "The Seven Youths of Ephesus", presented on the other side of the Suzdal amulet, is found, although not often, both on ancient Russian and Byzantine monuments. Since on the Byzantine amulets that have come down to us, this composition is marked twice, not counting the Suzdal serpentine, there is reason to believe that it was not so rare. As for the stylistic features of both images: "snake's nest" and "sleeping youths", they have direct parallels on the Byzantine serpentines. Of the six currently known jasper serpentines, the closest analogy in technological methods of transferring a serpentine figure is the Byzantine serpentine, dating from the 10th-11th centuries. and kept in the city museum of Przemysl. Comparing this amulet with the Suzdal serpentine, we see the identical transmission of the hair and facial features of the "jellyfish", the same cutting of the bodies of snakes with oblique strokes and a special technique for the transmission of snake heads, when two parallel lines intersect with an oblique one, next to which there is a convex point meaning an eye. The Mastricht serpentine, similar to the Suzdal coil in shape (round) and in the nature of the execution of images (carving in depth), is generally much more schematic and primitive in execution.

Thus, the stylistic features of the Suzdal amulet make it possible to insist on its Byzantine origin. Comparison with Byzantine jasper serpentines, primarily with amulets from Przemysl, Mastricht and, judging by the description given by V. Laurent, with an amulet from the collection of A. Rubens, determine the place that the object in question occupies among similar monuments.

The most likely date for its execution is the end of the 11th, possibly the beginning of the 12th century. It is also necessary to emphasize a circumstance noted at one time by A. S. Orlov: the ancient Russian jewelers did not know the carving on jasper. Until now, we have no data that would refute this statement of the researcher. If the ancient Russian craftsmen knew how to process steatite, then this does not at all confirm, as A. V. Ryndina believes, that they knew how to process such a hard stone as jasper. Likewise, the presence of craftsmen capable of processing, and even with exceptional perfection, limestone, which was used to decorate the portals and walls of churches, cannot indicate, according to M. V. Shchepkina, the indispensable presence of jewelers who cut from jasper.

The simplest explanation for the "contradiction" between Byzantine images and Russian inscriptions in plot and style would be the recognition of the monument in question as made in Byzantium on a Russian order. The materials contained in the article by A. V. Ryndina and proving that the coil belongs to the family of the Grand Duke Mstislav, confirm this assumption. Mstislav's ties with Byzantium, both political and family, were strong enough; becoming the Grand Duke, Mstislav pursued a pro-Greek policy. The serpentine made by the princely order could be brought to Russia, where it received the inscriptions. If we take into account that the beginning of the text of one of the inscriptions on the serpentine is related to the marriage of the daughter of Prince Mstislav and the prince from the House of Komnenos, then, naturally, the assumption arises whether this event was not a reason for making an appropriate gift for the bride's parents, especially a gift that could, according to the ideas of that time, improve the health of her sick mother?

By the way, the inscriptions on the images of youths cannot be considered organically combined with the latter. The symmetrical arrangement of the inscriptions is hindered by the knapsacks and staffs of the youths, obviously made earlier in the inscriptions and not designed for their subsequent application. As for the circular inscriptions, the article by M. V. Schepkina convincingly shows that they are not simultaneous with the images. Thus, the Russian inscriptions on the Suzdal coil can in no way serve as a confirmation of its local origin.

It should also be emphasized that the circular inscriptions on the amulet are mirrored, they are located not from left to right, but from right to left, which, in combination with the embedded images on the strongly convex sides of the object, suggests that we have a seal in front of us, and a seal for leaving impressions on soft texture (eg wax).

How the particular monument in question was used remains a mystery. It is only curious to note that the serpentine from Mastricht, which also has embedded images, but a direct inscription, is customary, according to a tradition dating back to the time of the Middle Ages, to be called “the seal of St. Servatia.

Referring to the position of A. V. Ryndina's article on the connection of images on the Suzdal coil with the ideas of the Bogomils (Manichaeans), it should be noted that the selection of sources confirming this position is random, and the interpretation of each of the documents cited is far from indisputable. Thus, A. V. Ryndina cites an excerpt from a Manichean conspiracy against the spirit of fever, which contains an appeal to Michael, Raphael and Gabriel. On the basis of some similarity between the conspiracy formula and spells on the serpentines, she draws a conclusion about the ideological connection of the images on them with the ideas of the Manichaeans. However, such an incantatory formula appears for the first time not among the Manichaeans, but among the Gnostics. The Gnostic amulets on which she is attested date from the 3rd century. The text quoted by A. V. Ryndina refers to the 6th century. Borrowings of the Manichaeans - both ideological and ritual order - from different religions are well known. In this case, we have just such a borrowing, the magic formula adopted by the Gnostics, and later in the Gnostic-Christian sects, then begins to figure in the incantations of the Manichaeans.

The wide distribution of "false books" among the Bogomils was, according to A. V. Ryndina, a "breeding ground" for all kinds of talismans. However, listing the secret books of the Bogomils, such as The Book of St. John, The False Gospel, A. V. Ryndin does not draw on those sources that are much closer to serpentines not only in terms of the general dualistic concept, but also in describing individual specific images. These are the apocryphas named above ("The Testament of Solomon" and incantatory prayers collected in the edition of Safa) - typical examples of medieval magic, in which the remnants of Gnostic ideas, and occult knowledge, and some elements of Christian dogma are reflected. These sources, quite common in all strata of Byzantine society, were not considered heretical.

So, the incantatory prayers of the Sisinian cycle, which make up a significant part of these apocrypha, were mistakenly attributed to the priest Jeremiah and were not Bogomil.

The amulets of the Manichaeans and Bogomils have not reached us, and therefore the statement about their connection with the Suzdal serpentine can only be hypothetical. As for the similarities with the Gnostic-Christian amulets, they are diverse and can be traced in different aspects. They are connected by the general orientation of the phylacteries, common iconographic types, and the phraseology of incantatory inscriptions. Indeed, both of them were supposed to protect Gilu from the demonic creature, represented on the Gnostic-Christian amulets in the form of a woman, from which a snake emanates, and on serpentines - in the form of a dragon-like multi-named demon. On many serpentines there is an incantatory inscription containing an appeal to Sabaoth.

On the Gnostic-Christian amulets, both individual words of this appeal and the entire spell are found. Separate iconographic types are also similar: Solomon on horseback, an angel beating a demon, etc. The eight-pointed star, considered the magical seal of Solomon, is present on both types of amulets.

The data shown indicates origin of coils from Gnostic-Christian phylacteries, not from nonexistent, but only supposed amulets of the Manichees.

So, there is every reason to believe that the Suzdal coil was made at the beginning of the 12th century. in Byzantium by Russian order. Like all Byzantine amulets of his day, he was associated with superstitions widespread at that time, reflected in magical, but not necessarily heretical, treatises and apocrypha.

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