Византийский богослужебно-певческий устав в Супрасльском Благовещенском монастыре (XVI в.)

In the Byzantine Church there were many liturgical rubrics of the Great Constantinople church, Everghetidos, Athonite (or of the Holy Mountain), Studite, patriarchal (of the Holy Sepulchre), Costamonitou, skete, Studite-Alekseyev, of St Sabbas etc. Those rubrics were used in monasteries, sketes, cathedrals and parishes. Many of them existed simultaneously. Due to the changing church reality the place of the rubrics of the Great Constantinople church and of the Holy Sepulchre was taken by that of Jerusalem and later by Studite-Alekseyev rubrics. Before the XV century in the Grand Duchy of Lithuania the Great Constantinople and the Studite rubrics were enriched by the local liturgical traditions, even the ideological sense of many elements was changed and was assumed to be a part of autonomous, authentic ancient Russian religious life. At that time begins the reform of the liturgical rubrics, finished in the second half of the XVII century by patriarch Nikon. Starting from the XV century the Jerusalem rubrics in their Constantinopolitan version were introduced in the Russian Church. The reform of the liturgical rubrics in the Suprasl monastery, carried out by archimandrite Sergius Kimbar, was based on the liturgical indications of the Holy Mountain Typicon, Przemyśl Typicon, “tchastoslovs” of various Greek monasteries, as well as texts from “holy books of Church rules” in Slavonic. All the mentioned books were offered to the monastery by Joseph Soltan, the metropolitan of Kiev, Halych and all Russia. The reforms met some opposition from the brethren, in some cases justified, as certain changes were not based on the Church rubrics. Still in parish and in monastery churches of the Grand Lithuanian Duchy in the services there were a lot of elements coming “rather from the local habits than from the books”. One of the remarks made by archimandrite Sergius concerned the lack of readings from the Church Fathers during the Mattins and the Vigil. He questioned also the use of the Royal Doors, he introduced in Suprasl monastery churches the interior narthex etc. One can also notice the same Byzantine style changes in the Russian church culture, especially in choral music.