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39-603: There are several different theories concerning the origin of the city's name: In a 1920 report, the British Foreign Office spelled Zonguldak Zunguldak . The port city of Zonguldak suffered a heavy bombardment by the Russians during World War I, according to the caption of a Lubok popular print. As of 1920, the port was under the control of the Heraclea Coal Company. The northern part of

78-400: A just transition . However a 2021 study said the city was unprepared for coal-phase out. In 2024 a local journalist alleged that hundreds of Afghans were being employed in illegal coal mines, and in 2024 a court case re the death of an Afghan was ongoing. The city is the terminus of a railway line to Irmak , with the terminating station Zonguldak Railway Station built in 1937. Zonguldak

117-684: A print using this new technique. Luboks were typically sold at various marketplaces to the lower and middle classes. Lubki production was concentrated in Moscow around Nikolskaya Street. This type of art was very popular with these two social classes because they provided them with an inexpensive opportunity to display artwork in their houses. Religious themes were prominent until 1890, when secular subjects became more prevalent. Production numbers of lubok reached 32,000 titles in 1914, with circulation numbers of 130 million. The original lubki were woodcuts. The Koren Picture-Bible (1692-1696) established

156-585: A sin of the flesh. The Koren Bible emphasizes that light rules both day (sun) and night (stars). And though the devil makes his bid for power, God casts him down into the abyss ( Hell ), which is represented by a cutaway space at the bottom corner of the picture, indicating a place beneath the surface of the earth. There are other reasons not to associate the Koren Bible directly with the Old Believers or Schismatics, yet just publishing an Apocalypse at

195-514: A special type of board (secondary phloem) on which pictures were printed. Russian lubki became a popular genre during the last half of the 17th century. Russian lubok was primarily influenced by the "woodcuts and engravings done in Germany, Italy, and France during the early part of the 15th century". Its popularity in Russia was a result of how inexpensive and fairly simple it was to duplicate

234-645: A tiara seen on Antichrist in Prokopii's Apocalypse—a tiara which might have been taken to signify an Old Believer representation of the tsar or patriarch. On the other hand, Christ leading the Heavenly Host wears just a cap. A two-fingered blessing gesture might have been taken as defiance of the new Orthodoxy, which called for a three-fingered sign. There are several two-fingered blessing gestures depicted, but there are also four именословно (liturgical) blessings, considered proper by both. Sakovich believes that

273-555: A time when masses of one's countrymen were awaiting the end of the world would seem to acknowledge or make some statement of solidarity with them. While the Russian Orthodox Church , backed by the power of the Tsar, was thundering that one owes obedience above all to God, Church and Tsar, the Koren Bible would have it that murder was the greatest sin—and not the disobedience to God of Adam and Eve. It specifically edits out

312-480: Is twinned with: Ergün Penbe - Turkish former footballer Murat Boz - Turkish singer-songwriter and actor Nilgün Efes - Turkish entrepreneur and journalist Lubok A lubok (plural lubki ; Russian : лубо́к, лубо́чная картинка ) is a Russian popular print , characterized by simple graphics and narratives derived from literature, religious stories, and popular tales. Lubki prints were used as decoration in houses and inns. Early examples from

351-504: Is a printed part-bible including a series of 36 woodcuts with hand-colouring illustrating the books of Genesis and Revelation . It is the outstanding example of Russian woodcut artistry in the 17th century and of the "Koren-style" woodcut, which is characteristic of the best of the Russian religious and secular popular prints or lubok (pl. lubki ) in the first half of the 18th century. The Koren Bible may be considered an example of

390-527: Is evident, not just deduced from the close correspondence of the iconography in most of the pictures, but from the fact that each of Kineshemtsev's pictures bears the number of the corresponding print in the Prokopii Apocalypse. In one instance, where Kineshemtsev combined elements from two pictures of Prokopii's series, that print bears both numbers. Although Kineshemtsev more or less follows Prokopii's iconography in all his drawings, his artistry

429-502: Is heavy once it occurs. The water temperature is cool to mild and fluctuates between 8 °C and 20 °C throughout the year. It was determined that coal-related lung diseases are more common than normal. During the quarantine period in Turkey, Zonguldak was also quarantined in addition to the metropolitan cities. Jobs in coal in Turkey are being lost and in 2020 the EBRD proposed

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468-525: Is unique and far superior to Prokopii's. Prokopii can be said to have done half the work of adapting Dürer to the Old Russian style, while Kineshemtsev made of them " freski-lubki ." For example, the figures become more icon-like and certain folk design elements are introduced, a grainfield is substituted for a cityscape, and the prophets Enoch and Elijah are introduced, . Gury Nikitin Kineshemtsev

507-501: The 'Russianness" of Russia. "These war luboks satirized Napoleon and depicted French culture as degenerate" (Norris 4). The lubok was a means of reinforcing the idea of defeating the French invaders and displaying the horrible destruction Napoleon and his army caused Russia. To help rekindle the Russian spirit the luboks displayed "The experience of the invasion and subsequent Russian winter rendered Napoleon and his troops powerless, and

546-588: The (misnamed) Biblia Pauperum . Twenty blocks illustrate the Creation and the Life of Adam and Eve, while sixteen illustrate Revelation. It may originally have consisted of forty woodcuts, intended, as was Piscator's Picture-Bible, to provide material for personal devotions during the forty days of Lent. The Koren Bible survives in a single copy. The woodblocks of the Koren Bible were cut by Vasily Koren of Moscow ( ru:Василий Корень ). A.G Sakovich cites evidence that

585-506: The Apocalypse, his association with other Old Believer sympathizers, and by his refusal to do the frescoes for Novo-Spassky Monastery, whose Father Superior was noted for his persecution of Old Believers. However, Gury Nikitin's treatment of Genesis departs from both Orthodox and Old Believer views. The injunction against violence may be addressed to both sides—as was Erasmus's response to the struggle between Catholicism and Protestantism in

624-553: The Koren Bible Apocalypse is shaped to speak against the "millenarians," i.e. the Old Believers or other sectarians who felt obliged to resist the authority of "the forces of Antichrist." She sees an affirmation that good will triumph in the end, but that it is God's affair, not man's, to bring this about. Briusova assures us that Kineshemtsev's Old Believer sympathies are well-established by his treatment of

663-486: The Koren Bible is the Adam and Eve story: that it was the violence of Cain against Abel—and not the disobedience to God of Adam and Eve—that was the downfall of humanity. Adam and Eve are shown at their creation with halos, losing them only temporarily when they sin and are expelled from Eden, but regaining them when they repent. They are shown living, hallowed, into old age. Thus the moral responsibility for bringing evil into

702-502: The Upper Volga region, and that Koren cut the blocks there. The Koren style has long been associated with the Moscow marketplace, but many things made elsewhere were marketed in Moscow, and Koren no doubt had ties there. At any rate Koren takes credit in an unusually prominent manner, inscribing "Василии Корен рєзал сие доски" (Vasily Koren cut these blocks)on several of them. The Koren Bible contains some uncanonical views, raising

741-515: The West. The last print of the Genesis series concerns Cain and his line and makes the point that real evil, originating in his unrepented crime, was perpetuated by Cain and his son Enoch in the building of cities in the land of Nod. This revision also provides Cain with a suitable fate: accidental shooting by his blind "brother" Lamekh . Here man is taken further from God. This is a striking view in

780-612: The artist or designer was Gury Nikitin Kineshemtsev , whose abbreviated name appears on several of the Apocalypse blocks. The Koren Bible has as its immediate prototype that of the Kievan , Iereia Prokopii 's, apocalyptic woodcut series (1646–1662). Prokopii's Apocalypse in turn follows the Luther-Piscator iconography, and the Piscator Bible draws on the original Albrecht Dürer iconography. The connection to Prokopii

819-533: The battle, the Japanese generals were able to size up their opponent and predict how he would react under certain circumstances. That knowledge enabled them to set a trap and defeat a numerically superior enemy". Therefore, the Russian government eventually stepped in with its censor laws and stopped the creation of more satirical luboks. All in all, around 300 luboks were created during 1904–05. Koren Picture-Bible (1692%E2%80%931696) The Koren Picture-Bible

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858-481: The bay featured a man-made harbor, for steamship use. At that time, they had two cranes which distributed coal to exporting vessels. According to the Köppen climate classification , Zonguldak has a humid subtropical climate ( Cfa ), though it was, until recently, considered to have an oceanic climate ( Cfb ), with its warmest month being well below the 22 °C threshold. In recent decades climate change and

897-688: The church much like the demands made upon Catholicism in Western Europe during the Reformation. They produced heresies like bubbles on a boiling pot. Briusova takes the sectarian ferment as a sign of intellectual vigor, not of the "breakdown" of society. So also were the Koren Picture-Bible and the Koren School lubki. If Sakovich's interpretation is correct, The Koren Picture-Bible also represents an Erasmian road of tolerance,

936-529: The city's urban heat island has warmed the city enough to change its classification. Summers are warm, the average temperature is around 22.5 °C in July and August. Winters are cool, the average temperature is around 6 °C in January and February. Precipitation is frequent, while it is generally heaviest in autumn and early winter, lightest (although still frequent) in spring. Snow is sporadic in winter, but

975-546: The context of the thriving cities of the Upper Volga which nourished Kineshemtsev and his merchant-patrons. Yet perhaps precisely an urbanizing society, under the stress of change, sees its moral challenges as emanating from cities. The Koren Bible is a work of sophistication, cosmopolitanism and originality. The surviving copy has an ownership history in the 18th century in the Upper Volga region and includes persons of various classes—from peasant to nobility. Briusova finds

1014-510: The late 17th and early 18th centuries were woodcuts , followed by engravings or etchings , and from mid-19th century lithography . They sometimes appeared in series, which might be regarded as predecessors of the modern comic strip . Cheap and simple books, similar to chapbooks , which mostly consisted of pictures, are called lubok literature ( Russian : лубочная литература ). Both pictures and literature are commonly referred to simply as lubki . The Russian word lubok derives from lub -

1053-482: The lubok style "is a combination of Russian icon and manuscript painting traditions with the ideas and topics of western European woodcuts". Typically, the lubok's artist would include minimal text that was supplementary to the larger illustration that would cover the majority of the engraving. Folklorist Dmitri Rovinsky is known for his work with categorizing lubok. His system is very detailed and extensive, and his main categories are: "icons and Gospel illustrations;

1092-463: The luboks from Russian wartime. It is used to present Napoleon in a satirical manner while portraying the Russian peasants as the heroes of the war. This also inspired other Russians to help fight the war by attempting to, "…redefine Russian national identity in the Napoleonic era " (Norris 2). The luboks presented a manner for the Russians to mock the French enemy, while at the same time display

1131-485: The luboks illustrated this view by depicting the French leader and soldiers as impotent when confronted by peasant men, women, and Cossacks " (Norris 9). All the different representation of the Russian heroes helped define and spread the belief in Russian identity. The Russo-Japanese War of 1904–1905 began on February 8, 1904, at Port Arthur with a surprise attack by the Imperial Japanese Navy . At

1170-418: The most prominent style, an "Old Russian" rendering of international iconography and subjects, most closely related to the frescos of the Upper Volga. By mid-18th century, however, the woodcuts were mostly replaced with engraving or etching techniques, which enabled the prints to be more detailed and complex. After printing on paper, the picture would be hand-colored with diluted tempera paints. While

1209-477: The prints themselves were typically very simplistic and unadorned, the final product, with the tempera paint added, was surprisingly bright with vivid colors and lines. The dramatic coloring of the early woodcut prints was to some extent lost with the transfer to more detailed engravings. In addition to the images, these folk prints also included a short story or lesson that correlated to the picture being presented. Russian scholar Alexander Boguslavsky claims that

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1248-556: The question of its relationship to the Raskol or Schism in Russian Orthodoxy and the violent suppression of it in the 1670s-1690s. Sakovich finds the Koren Bible strongly opposed to the rebels. However, V.G. Briusova, the premier scholar of 17th century Russian fresco art , assures us that Kineshemtsev and his colleagues and merchant patrons were deeply sympathetic to the rebels. The most distinctive interpretive rendering in

1287-502: The time did not allow satirical magazines to subsist. With the use of satirical , often racist cartoons, luboks displayed pictures such as, "a Cossack soldier thrashing a Japanese officer, and a Russian sailor punching a Japanese sailor in the face". These luboks, produced in Moscow and St. Petersburg, were anonymously created and recorded much of the Russo-Japanese War. Perhaps due to the Russians' overconfidence, "During

1326-442: The time, "Russia was an established European power with a large industrial base and a regular army of 1.1 million soldiers. Japan, with few natural resources and little heavy industry, had an army of only 200,000 men". Because of the staggering difference in military defense, Russia assumed itself to have the upper hand before the war ensued. Luboks depicting the overconfidence of the Russian army were created because censorship laws at

1365-475: The urban art of the North an "art of the growing town, but also of the monasteries and the peasantry." The peasants of the North were largely state peasants, not serfs like the peasants of Central Russia, more dependent on crafts, fishing and trade than on agriculture, and more self-reliant. These were vigorous, independent and mobile people, unlike the agriculture-bound serfs of Central Russia. They made demands upon

1404-908: The virtues and evils of women; teaching, alphabets, and numbers; calendars and almanacs; light reading; novels, folktales, and hero legends; stories of the Passion of Christ , the Last Judgement , and sufferings of the martyrs ; popular recreation including Maslenitsa festivities, puppet comedies, drunkenness, music, dancing, and theatricals; jokes and satires related to Ivan the Terrible and Peter I ; satires adopted from foreign sources; folk prayers ; and government sponsored pictorial information sheets, including proclamations and news items". Jewish examples exist, as well, mostly from Ukraine. Many lubki can be classified into multiple categories. The satirical version played an important role in

1443-450: The world is displaced to Cain, who envied, hated and killed his brother Abel, and lied to God. It makes the taking of life the highest crime. This does not fit with the moral stance of the Old Believers, whose leader, Protopop Avvakum , emphasized that, while the rest of creation is called into being "by the word" of God, Adam and Eve are made of clay. Their disobedience—eating from a forbidden fig tree and their resultant intoxication—leads to

1482-481: Was Vasily Koren identified. He turned up in the tax rolls as a resident of Moscow's Мещанская Слобода or Tradesman's District, an independent craftsman of modest means. He came there in 1661 when he was perhaps twenty, from Belarusian territory seized from Poland. After 1692 the Korens disappeared from the Moscow tax rolls. Perhaps they left Moscow following a son's legal troubles in 1692. It is possible that they went to

1521-562: Was the premier fresco artist of Russia in the seventeenth century and head of the Kostroma Brotherhood of Painters until his death in 1691. He took the texts for the Koren Bible from the first Slavonic Bible translation, published in Moscow in 1663. He also incorporated non-traditional elements from the Russian edition of the Short Palaea, which includes considerable apocryphal material. Only with A.G. Sakovich's study

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