Морозова, Дарина2025-07-242025-07-242025Морозова Д. С. За візантійськими кресленнями: сирійські купці на Заході і рання християнська архітектура / Дарина Морозова // Наукові записки НаУКМА. Історія і теорія культури. - 2025. - Т. 8. - C. 81-91. - https://doi.org/10.18523/2617-8907.2025.8.81-912617-89072663-2160https://doi.org/10.18523/2617-8907.2025.8.81-91https://ekmair.ukma.edu.ua/handle/123456789/35719This article explores the cultural influence of late Roman Syria on the Latin West, particularly the British Isles. Building on previous studies of interaction between the Byzantine Empire and the West, the author traces how the church art and liturgical thinking of Syrian Christians reached the Latin Church and became embedded in the early architecture of various European regions. The study of early Christian architecture is complicated by the destruction or extensive reconstruction of original monuments, and by the loss of wooden and fabric interior elements, which can mislead interpretation. However, the surviving building plans remain highly informative. For example, the octagonal type of construction—derived from early martyria—is clearly a hallmark of the Antiochian school of architecture, which produced several such buildings, from the Domus Aurea in Antioch to the Monastery of St Simeon nearby. Consequently, octagonal baptisteries and cathedrals in Milan, Ravenna, and other European cities are associated with Syrian architectural influences, likely transmitted through Constantinople. The influence of the Eastern Mediterranean on the architecture of Ireland and Britain is closely linked to the issue of dating the Gallarus Oratory and similar monuments, which most scholars date to the relatively early period of the tenth to twelfth centuries. Features such as cyclopean masonry, apses with triple windows, horseshoe arches above small windows, and decorative exterior friezes suggest plausible Levantine influences on the Iberian Peninsula and, at times, Gaul. These parallels may reflect either direct imitation of Syrian models or the involvement of Syrian architects, masons, and mosaicists in construction projects. Some of these craftsmen may have been sent by emperors—such as Justinian—who sought to consolidate military victories in Italy through the symbolic use of metropolitan architectural forms. Others may have arrived at the invitation of local authorities or, more plausibly, of Syrian merchant communities, which contemporary sources confirm existed in many European port cities. Archaeological, historical, and anthropological evidence also points to the presence of such communities in Post-Roman Britain. Drawing a parallel from the better-documented early modern history of Ukraine—specifically the Greek merchant community in the city of Nizhyn—the author argues that even a small group of migrants, when equipped with resources and a desire to preserve their identity, can leave a lasting imprint on the cultural landscape of a host city. Based on abundant archaeological, historical, and anthropological data, the author concludes that Syrian trading communities in Europe—especially those strengthened by refugees after the Arab conquests of the seventh century—may have played a key role in transmitting Eastern Mediterranean architectural and liturgical traditions to the West.Статтю присвячено культурним впливам пізньоримської Сирії на латинський Захід і, зокрема, Британські острови. На основі попередніх досліджень взаємодії між Візантійською імперією і Заходом авторка простежує, як церковне мистецтво і літургійне мислення сирійських християн досягало латинської Церкви і втілювалось у ранній християнській архітектурі різних країн Європи. У статті розглянуто архітектурні форми, імовірно, сирійського походження, їхнє літургійне значення та імовірні механізми їх поширення у варварських королівствах Європи, аж до Британії.ukВізантіяСиріяСередземномор’яБританіяархеологіяархітектуралітургікарелігіякультураекуменізмстаттяByzantiumSyriaMediterraneanBritainarchaeologyarchitectureliturgyreligioncultureecumenismArticle