tag:blogger.com,1999:blog-78317474944655161852024-03-20T02:05:42.131-07:00IMAGO DEI Anonymoushttp://www.blogger.com/profile/15536415371721057483noreply@blogger.comBlogger36125tag:blogger.com,1999:blog-7831747494465516185.post-69720771384773199292014-08-22T01:41:00.005-07:002014-08-22T01:49:00.789-07:00Chora, Istambul<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: justify;"><span style="font-family: Bookman Old Style, serif;"><span style="line-height: 17.1200008392334px;"><i>Chora is beautiful and transport us to an ancient time of the Byzantine art and religiosity.</i></span></span></span><i style="font-family: 'Bookman Old Style', serif; line-height: 17.1200008392334px; text-align: justify;"> The wonderful and stunning frescoes and mosaics here make us to taste from this historic place a glimpse of the heavenly world. </i><i style="font-family: 'Bookman Old Style', serif; text-align: left;"><span style="line-height: 17.1200008392334px;">The various Mother. Mary and Jesus Christ paintings are gorgeous and really give the sense of true art and reverence.</span></i></div>
<div class="separator" style="clear: both; text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFQioSJviNynpZ_mwWTIVSoQe_00TQL0KhyW5hnl_ZJK-MNzCeCQM1bKwLyYFtsk3FIUpF8jsEzgkY1AD3B5if9VkdF0yIF49S2I1rFbvwnDeOliFh17sHQNrm9Pd27WhhxiSC5BwHMUmq/s1600/kariye-museum-the-chora.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFQioSJviNynpZ_mwWTIVSoQe_00TQL0KhyW5hnl_ZJK-MNzCeCQM1bKwLyYFtsk3FIUpF8jsEzgkY1AD3B5if9VkdF0yIF49S2I1rFbvwnDeOliFh17sHQNrm9Pd27WhhxiSC5BwHMUmq/s1600/kariye-museum-the-chora.jpg" height="400" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">The Chora Museum
(Turkish Kariye Müzesi, Kariye Camii, or Kariye Kilisesi — the Chora Museum,
Mosque or Church) is considered to be one of the most beautiful examples of a
Byzantine church. The church is situated in the western, Edirnekapı district of
Istanbul. In the 16th century, the church was converted into a mosque by the
Ottoman rulers, and it became a secularised museum in 1948. The interior of the
building is covered with fine mosaics and frescoes.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><b>History of Chora
Church</b><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">The Chora Church was
originally built outside the walls of Constantinople, to the south of the
Golden Horn. Literally translated, the church’s full name was the Church of the
Holy Saviour in the Country: although “The Church of the Holy Redeemer in the
Fields” would be a more natural rendering of the name in English. (Greek </span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;">ἡ</span><span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">
</span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;">Ἐ</span><span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">κκλησία
του </span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;">Ἅ</span><span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">γιου
Σωτ</span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;">ῆ</span><span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">ρος
</span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;">ἐ</span><span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">ν
τ</span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;">ῃ</span><span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">
Χώρ</span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;">ᾳ</span><span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">,
hē Ekklēsia tou Hagiou Sōtēros en tē Chōra). The last part of that name, Chora,
referring to its location originally outside of the walls, became the shortened
name of the church. The original church on this site was built in the early 5th
century, and stood outside of the 4th century walls of Constantine the Great.
However, when Theodosius II built his formidable land walls in 413–414, the
church became incorporated within the city’s defences, but retained the name
Chora. The name must have carried symbolic meaning, as the mosaics in the
narthex describe Christ as the Land of the Living (</span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;">ἡ</span><span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">
Χώρα των ζώντων, hē Chōra tōn zōntōn) and Mary, the Mother of Jesus, as the
Container of the Uncontainable (</span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;">ἡ</span><span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">
Χώρα του </span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;">Ἀ</span><span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">χώρητου, hē Chōra tou Achōrētou).<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">The majority of the
fabric of the current building dates from 1077–1081, when Maria Dukaina, the
mother-in-law of Alexius I Comnenus, rebuilt the Chora Church as an inscribed
cross or quincunx: a popular architectural style of the time. Early in the 12th
century, the church suffered a partial collapse, perhaps due to an earthquake.
The church was rebuilt by Isaac Comnenus, Alexius’s third son. However, it was
only after the third phase of building, two centuries after, that the church as
it stands today was completed. The powerful Byzantine statesman Theodore
Metochites endowed the church with much of its fine mosaics and frescos.
Theodore’s impressive decoration of the interior was carried out between 1315
and 1321. The mosaic-work is the finest example of the Palaeologian
Renaissance. The artists remain unknown. In 1328, Theodore was sent into exile
by the usurper Andronicus III Palaeologus. However, he was allowed to return to
the city two years later, and lived out the last two years of his life as a
monk in his Chora Church.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">During the last siege
of Constantinople in 1453, the Icon of the Theotokos Hodegetria, considered the
protector of the City, was brought to Chora in order to assist the defenders
against the assault of the Ottomans.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">Around fifty years
after the fall of the city to the Ottomans, Atık Ali Paşa, the Grand Vizier of
Sultan Bayezid II, ordered the Chora Church to be converted into a mosque —
Kariye Camii. Due to the prohibition against iconic images in Islam, the
mosaics and frescoes were covered behind a layer of plaster. This and frequent
earthquakes in the region have taken their toll on the artwork.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">In 1948, Thomas
Whittemore and Paul A. Underwood, from the Byzantine Institute of America and
the Dumbarton Oaks Center for Byzantine Studies, sponsored a programme of
restoration. From that time on, the building ceased to be a functioning mosque.
In 1958, it was opened to the public as a museum — Kariye Müzesi.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS9pD19xpg6pX8QyAdzr4qBDolhFYt9aG5noKDb1AaxTlxHDd8gUCX11WA7oTi7PhjUDvbyJMWLSBwVmzUd2NLk9GG1E_lDVUuoQJnQFwdxH0iu-8wRXKxNsOxaTXvyCI2Or8mBAkRGCL9/s1600/chora_church_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS9pD19xpg6pX8QyAdzr4qBDolhFYt9aG5noKDb1AaxTlxHDd8gUCX11WA7oTi7PhjUDvbyJMWLSBwVmzUd2NLk9GG1E_lDVUuoQJnQFwdxH0iu-8wRXKxNsOxaTXvyCI2Or8mBAkRGCL9/s1600/chora_church_.jpg" height="237" width="400" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><b>Interior of Chora
Church</b><o:p></o:p></span></div>
<div class="separator" style="clear: both;">
</div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">The Chora Church is
not as large as some of the other Byzantine churches of Istanbul (it covers
742.5 m²), but what it lacks in size, it makes up for in the beauty of its
interior. The building divides into three main areas: the entrance hall or
narthex, the main body of the church or naos, and the side chapel or
parecclesion. The building has six domes: two in the esonarthex, one in the
parecclesion and three in the naos.aa<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<a href="http://www.choramuseum.com/articles/chora-church-kariye-museum-kariye-muzesi/" style="text-align: left;">Source: here</a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/RcqAcoE2538?feature=player_embedded' frameborder='0'></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/xq4nivYIEOc?feature=player_embedded' frameborder='0'></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/BcttB62A85I?feature=player_embedded' frameborder='0'></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<b style="font-family: 'Bookman Old Style', serif; line-height: 17.1200008392334px; text-align: justify;"><span style="font-size: large;">The Deisis, Supplication, Mother of God.</span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS9pD19xpg6pX8QyAdzr4qBDolhFYt9aG5noKDb1AaxTlxHDd8gUCX11WA7oTi7PhjUDvbyJMWLSBwVmzUd2NLk9GG1E_lDVUuoQJnQFwdxH0iu-8wRXKxNsOxaTXvyCI2Or8mBAkRGCL9/s1600/chora_church_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS9pD19xpg6pX8QyAdzr4qBDolhFYt9aG5noKDb1AaxTlxHDd8gUCX11WA7oTi7PhjUDvbyJMWLSBwVmzUd2NLk9GG1E_lDVUuoQJnQFwdxH0iu-8wRXKxNsOxaTXvyCI2Or8mBAkRGCL9/s1600/chora_church_.jpg" height="190" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; font-size: 12pt; line-height: 107%;">The
Deisis, Supplication, Mother of God. Walk through the door of the Chora
Monastery Museum and you step back in time. One-thousand-four-hundred-seventy-three
years, to be exact, when Chora was one the many beautiful churches that adorned
Constantinople, the jewel in Byzantium’s crown.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUvPrH954fAidN3rmBpS34esLHicV-j6zFO7w3FbyyEehwaD8h_oWDZRLcumwcYQN4ehrmd7nWDFIQeJ8ejAN0uyjx3VKJg7veUThqohifCskv8qYjle-XqgxgTUQiSeHBWZNC3bnrh0P5/s1600/deisis3501.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUvPrH954fAidN3rmBpS34esLHicV-j6zFO7w3FbyyEehwaD8h_oWDZRLcumwcYQN4ehrmd7nWDFIQeJ8ejAN0uyjx3VKJg7veUThqohifCskv8qYjle-XqgxgTUQiSeHBWZNC3bnrh0P5/s1600/deisis3501.png" height="320" width="278" /></a><span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">When it was built,
Chora was outside the Walls of Constantine, and so, today, is a bit off the
beaten path — away from the long tourist magnets that are Hagia Sophia, the
Blue Mosque, and Topkapi Palace.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">“Chora,” in Greek,
means “rural,” or “in the country,” and the monastery kept that name after it
was incorporated within the enlarged Theodosian Walls.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">But the name “Chora,”
also alludes to another, everlasting, realm: “I Chóra Ton Zónton,” The World of
The Living,” proclaims an icon of Christ above the nave door. It’s one of the
few mosaics that did not sustain damage during Fourth Crusade 1204 sack of Constantinople.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">Evidence of this
destruction — and that caused by the passage of 14 centuries — is seen in the
bare walls and domes that once were filled with priceless mosaics.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">Next to Christ
Pantocrator.” (“He Who Holds All,” The Lord of the Universe.) That’s Theódoros
Metochites, the man who restored Chora after the Latin invasion.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">“Metochitis, a
Byzantine poet, scientist, and minister of the treasury, kneels before the
enthroned Christ, holding in his hands the restored Chora church.”</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><b>Icon of Christ of Chalke, the Bronze Gate
of the Great Palace</b></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Bookman Old Style, serif;"><span style="line-height: 17.1200008392334px;"><b><br /></b></span></span><span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><b> </b><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgasjM1xFY2nmk6SUCUDItrSY-UcLZtY8qYOqPIHASDGe20b5ZiktDsr7XmZb9QV0_Z4B863EhPPJHR3FrWuGe4zL-15K17Kr4OsEn0Pmr7ptD8Ni61aJayKBAMJNsJtTD8QEUw7NYpFO8n/s1600/deisisB350.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgasjM1xFY2nmk6SUCUDItrSY-UcLZtY8qYOqPIHASDGe20b5ZiktDsr7XmZb9QV0_Z4B863EhPPJHR3FrWuGe4zL-15K17Kr4OsEn0Pmr7ptD8Ni61aJayKBAMJNsJtTD8QEUw7NYpFO8n/s1600/deisisB350.png" /></a><span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">The greatest church
in Christendom before St. Peter’s was constructed in Rome 1,000 years later,
Hagia Sophia is the very symbol of Byzantium and occupies a special place in
the Greek Orthodox heart.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">But you don’t have to
be Greek to appreciate its beauty and history — as Atatürk, the Father of
modern Turkey, did in 1935 when he proclaimed Hagia Sophia a museum. Hagia
Sophia’s Deisis (Supplication) mosaic, qualifies it as a World Heritage Site.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; line-height: 107%;"><b>The Mother of God, a
Chora dome mosaic</b></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; line-height: 107%;"><b><br /></b></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">The virgin, clad in a
blue chiton, reclines on a purple cushion by a cave housing the manger. The ox
and the ass look on as divine light bathes the Child.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">To the left of the
cave appear angels, and to the right another angelic messenger gives the Good
News to the shepherds residing in the fields.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">The Nativity is just
one of the beautiful scenes from the lives of Christ and the Virgin found in
Chora. You could teach a whole Bible class just by walking around and pointing
at the mosaics in this beautiful church: besides The Nativity, there are, The
Presentation of the Virgin to the Temple, The Annunciation, The Flight into
Egypt, The Miracle at Cana, Christ Healing the Leper, The Samaritan Woman at
the Well, Christ Healing the Blind Man, Christ Healing the Paralytic, The
Temptation of Christ, The Resurrection, treasures all.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">The mosaic just below
the dome of The Genealogy of Christ, a depiction of the Virgin Mary with Christ
of the Chalke, especially moving. Named for an icon of Christ that hung above
the Chalke, the “Bronze” Gate, the main ceremonial gate to the Great Palace.
Reminiscent of the more famous Hagia Sophia Deisis Christ, this is the face of
a benevolent God.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">With Avar armies at
the gates, those prayers were answered, and Patriarch and people gathered in
Hagia Sophia to offer thanksgiving to the Mother of God for The City’s
deliverance. (The City, I Polis, as Constantinople was known, is found in the
name of Turkey’s largest city and artistic and cultural capital: Is Tin Polin,
To The City — Istanbul.)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXNBuWXbN5W-MVDOlDzmmfpAIrrirrgXCRTxjX1i8XTf4Ro2srMGePTph2pEioRcLGRPDPlKIv7tzrThC6geOI_Pjjsw-q_3QCQmdguO0re6_oapSGnnW11lGvpG_E0QSo-cH-ZQ0Sh0Ra/s1600/choramotherofgod5001.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXNBuWXbN5W-MVDOlDzmmfpAIrrirrgXCRTxjX1i8XTf4Ro2srMGePTph2pEioRcLGRPDPlKIv7tzrThC6geOI_Pjjsw-q_3QCQmdguO0re6_oapSGnnW11lGvpG_E0QSo-cH-ZQ0Sh0Ra/s1600/choramotherofgod5001.png" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">In thanksgiving was
written a beautiful long hymn, Ti Ypermáho, “To the Invincible General.” After
a millenium-and-a-half it is still being sung in Orthodox churches for five
consecutive Friday evenings before Easter Sunday. An Orthodx hymn that
accompanies our Chora video, who’s beloved melody is dear to my soul. Hearing
it now brings back Constantinople’s fateful history and The City’s special
place in the Greek psyche. A hymn that I find myself humming in front of the
Chora mosaic icon of the Mother of God:<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES-MX" style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%; mso-ansi-language: ES-MX;">Ti Ypermáho Stragigó ta nikitíria,<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES-MX" style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%; mso-ansi-language: ES-MX;">Os lytrothisa ton dinón efharistíria,<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">Anagráfo Soi i Pólis
sou Theotóke.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">All’ os éhousa to
krátos aprosmáhiton,<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES-MX" style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%; mso-ansi-language: ES-MX;">Ek pantíon me kindínon elefthéroson.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES-MX" style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%; mso-ansi-language: ES-MX;">Ína krázo soi; Hére Nífi Anímfefte.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES-MX" style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%; mso-ansi-language: ES-MX;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">“To Thee, Invincible
General, I ascribe the victory/Having been delivered from suffering, Your City
offers thanksgiving/to You O Mother of God./And having your might
unassailable/Free us from all dangers/So we may cry unto you/Hail O Bride
Unwedded.”<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="separator" style="clear: both;">
</div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">In the end, there
could be no deliverance — 5,000 defenders besieged by 350,000 Ottomans — The
City — and Byzantium — fell.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;">From Cora Museum</span><br />
<span style="font-size: x-small;">Source: <a href="http://www.choramuseum.com/articles/deisis-supplication-mother-god/">here</a></span></div>
Anonymoushttp://www.blogger.com/profile/15536415371721057483noreply@blogger.com0tag:blogger.com,1999:blog-7831747494465516185.post-15859954319238694842014-08-17T00:40:00.001-07:002014-08-17T00:40:30.360-07:00Sunday XX, Year A<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2fcpmARzRmVAsbTIaFbPra-YsLySXH_-96x7ss3sWENJP3bQKrdAN7wulKwGVUuJ9MAqWERkh_-P0c6IfksTtvTanxMp0bDxUJgn0MycYbg2OQW7BE_lMc0US7AjgHnYsAnsuKE05vSac/s1600/Belmont+Homily.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2fcpmARzRmVAsbTIaFbPra-YsLySXH_-96x7ss3sWENJP3bQKrdAN7wulKwGVUuJ9MAqWERkh_-P0c6IfksTtvTanxMp0bDxUJgn0MycYbg2OQW7BE_lMc0US7AjgHnYsAnsuKE05vSac/s1600/Belmont+Homily.jpg" height="288" width="320" /></a></div>
<div class="MsoNormal">
<b><span style="font-family: "Bookman Old Style","serif";"></span></b></div>
<div class="MsoNormal">
<b><br /></b></div>
<div class="MsoNormal">
<b><b><span style="font-family: "Bookman Old Style","serif";"><br /></span></b></b></div>
<b>Homily Sunday XX, Year A </b><i><span style="font-family: "Bookman Old Style","serif"; font-size: 9.0pt; line-height: 107%; mso-bidi-font-size: 11.0pt;">Belmont, 17th
August 2014 <o:p></o:p></span></i><br />
<div class="MsoNormal">
<i><span style="font-family: "Bookman Old Style","serif"; font-size: 9.0pt; line-height: 107%; mso-bidi-font-size: 11.0pt;">by Don Alex Echeandía</span></i></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">“Woman, you have
great faith. Let your wish be granted”</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><o:p></o:p></span><span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">We find in Jewish
history a long tradition of exclusivity. The people of Israel were called to preserve
the purity of their faith in the One God in the midst of many other nations
with their gods. <i>However, </i>the Old
Testament in certain passages, expresses the desire that other people, other
nations, be drawn into God´s plan. Today’s first reading, taken from the third
part of the Book of Isaiah, shows how God calls foreigners to his holy mountain
and makes them joyful in the house of prayer he has established for all people.
Thus, certain passages of Scripture reflect a universal understanding of God´s
salvation.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">This two-part vision
is also found in the New Testament. The early followers of Christ hesitated as
to whether their mission was to include the non-circumcised, the gentiles. The
Church, in the figures of Peter and Paul realised that the call of Jesus to
make disciples was addressed not only to the Jews but also to the gentiles. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">Why do we call our
faith ‘Catholic’? The word “Catholic” comes from the Greek <i>kata</i> (meaning 'according to') and <i>olos</i> (meaning 'the whole'). It means according to the totality.
This composite Greek word tells us about the universal view of Christ´s message
and effect. The Catholic faith is then for all the people. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">In today´s gospel,
Jesus at first seems to take the prevailing narrow view of salvation. As we
just read, the Canaanite woman asked for the healing of her daughter and Jesus´
disciples asked him to respond, maybe by the simple fact that she was shouting
after them. The woman's cry is one of profound faith in Jesus. Her request is
simple. Her daughter is possessed by a demon. We can hardly begin to imagine
just what this woman and her daughter must have suffered. This poor woman
believes that Jesus can free her daughter from that terrible affliction. In her
sincere and humble faith, Jesus said, “I was sent to the lost sheep of the
House of Israel.” It seems a bit exclusivist one may say. However, Jesus had a
more profound purpose. This turned out to be a strategy in order to let his
followers be aware that that woman was capable of a faith greater than theirs.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">What Jesus is doing
is to offer this gift of faith to others. He pushed that woman in order that
she might think more deeply and respond with her mind and heart to the
challenge. She was indeed called to walk by faith. Peter was asked to walk on
water; she was asked to move forward in her faith so that she may respond to
Jesus´ call from something which was apparently seen as a rejection. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">She got it. She was
able to disclose God´s gift. As St Paul
in Romans today said, “God never takes back his gifts or revokes his choice.”
He kept his promises to the people of Israel, but extended his gifts to others,
to everyone.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">Our Catholic faith by
its name and nature calls us to embrace everyone in Christ. Jesus said,
"Whoever welcomes one of these little children in my name welcomes me; and
whoever welcomes me does not welcome me but the one who sent me." We are
called to accept our neighbour as God´s gift to us, as God himself. As this
Canaanite woman in the Gospel we are also challenged in our faith by God in order
to grow, as the mustard seed. We sometimes may feel rejected, or forgotten by
God by the situations in which we live. But we must remember that it is in this
situation we find ourselves in that God pushes us forward. Our minds and hearts
can be working together so we may ask Jesus, even for the scraps left for the
dogs, even a bit of his mercy and love. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">Remember that the
scraps left to the dogs in this passage are connected with the passage of the
multiplication of bread. Twelve full baskets of scraps were left. Scraps of
God´s love and mercy for his people. So at this Mass let us pray that God may
multiply our little faith and that we all may realise that He who called us
always keeps his promise, the promise to love us and to be with us always to
the end of time for all eternity.<o:p></o:p></span></div>
</div>
Anonymoushttp://www.blogger.com/profile/15536415371721057483noreply@blogger.com0tag:blogger.com,1999:blog-7831747494465516185.post-9476824621391825532014-08-14T04:10:00.001-07:002014-08-14T04:13:17.297-07:00Wall paintings revealed at St Anthony's Monastery<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: justify;">
<span style="font-size: large;"><i>The British Art Historian Andrew Graham-Dixon presented a three-part television series for BBC, called Art for Eternity. (link on the right column of this blog) He offered a critic on this marvellous brilliant Coptic Art as revealed by recent discoveries. This Coptic Art created in the medium of fresco of the thirteen century reveals the expressive sense of divine mystery. Here two articles.</i></span><br />
<span style="font-size: large;"><i><br /></i></span>
<span style="font-size: large;"><i><br /></i></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZqSZ8sf_KHCIkniccgUkFZrGlvkxoZU3QAheDXwug3tJ8M9ELU9CeKuWVecZ7Mlp5SIKSSIh0l8ci7vtM2-VitRRqE9tG7Euqs8T9bK1J338rUrTPz3ia3BxkA-r2ZsHnXK3V81hMwc6d/s1600/Alex+Echeandia.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZqSZ8sf_KHCIkniccgUkFZrGlvkxoZU3QAheDXwug3tJ8M9ELU9CeKuWVecZ7Mlp5SIKSSIh0l8ci7vtM2-VitRRqE9tG7Euqs8T9bK1J338rUrTPz3ia3BxkA-r2ZsHnXK3V81hMwc6d/s1600/Alex+Echeandia.png" height="205" width="400" /></a></div>
<h3>
<span style="font-size: large;"><br /></span></h3>
<h3>
<span style="font-size: large;">THEODORE, THE COPTIC MASTER WHO PAINTED THE WALLS AT SAINT ANTONY’S CHURCH, MONASTERY OF SAINT ANTONY (THE RED SEA, EGYPT) </span><span style="font-size: large;">JUNE 19, 2012</span></h3>
</div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: large;">The recent restoration work at St. Anthony’s Monastery has revealed the extraordinarily beautiful wall paintings at the oldest church in the monastery, the Church of St. Anthony, which is believed to have dated from the times of the St. Antony (ca. 251–356). The great restoration work was undertaken by a joint Coptic/Italian/USA effort, and was carried out between 1995 and 1999. The result of the restoration was astonishing – it revealed master pieces by a Coptic painter from the thirteenth century. I have spoken about the wall paintings and their restoration in previous article, to which the reader can refer.</span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: large;">As Jill Kamil says, “the result of professional cleaning, conservation and restoration is breathtaking. All appear as though painted yesterday”. But one has to focus less on the restoration itself than on the art work which has been revealed by it. The brilliance and genius of such work has raised the stature of Coptic art to higher levels, and added to our understanding of the thriving Coptic culture in the thirteenth century. The British art historian and critic describes it as “some of the most profoundly moving works of Christian art ever created.” “[The] cycle of frescoes [revealed by the restoration] is like nothing else in the Christian art tradition: stark but simple images of monks, priests and martyrs, with wide and staring eyes; a Madonna and Child painted in a style of such almost abstracted power and force that it resembles nothing so much as a late Picasso (who himself looked back to the art of earlier periods for inspiration, but could never have known this particular image); a depiction of the Vision of Ezekiel that might evoke comparisons with the sharp, dream-like paintings of the Dada and Surreal movements of the early twentieth century.”</span><br />
<span style="font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: large;">The Coptic master work of art has been celebrated – it is a shame, however, that the Coptic artist who created that work is little known, and rarely mentioned by art critics and historians. This article is written specifically to bring to my readers the name of that brilliant Coptic painter, which my previous articles failed to reveal. The name of the Coptic artist is retained on the walls in an inscription – it was Theodore. Sadly we don’t know his full name, or his biography. One would hope that the beautiful work at St. Antony’s Monastery would carry his name – “Theodore’s Frescos at the Monastery of St. Antony”. This way his name can be kept in the mind of Copts and lovers of Coptic and Christian art.</span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: large;">The inscription on the wall also reveals that the wall paintings were made by Theodore and his team in the years 1232-1233 AD.This is towards the end of the long nineteen years of patriarchate vacancy after the death of John VIII (1189 – 1216) and Cyril III (1235 – 1243). The reigning Muslim king at the time was Al-Malik Al-Kamil (1218 – 1238). These are days of trouble and division within the Coptic nation, as they were divided on the election of the next patriarch, but, paradoxically, it was a period also of extraordinary flourishing in Coptic culture in many ways.</span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: large;">A work on such a scale that takes almost two years in a desert monastery could not have been undertaken without sponsorship from Coptic archons (prominent, rich and influential Copts). We are fortunate that the inscription found on the walls retained the identity of the archons that funded the work – we know them as simply “the sons of Ghâlib”; yet some of the many humble Coptic heroes who left us nothing to remember them except the work they sponsored and a simple name.</span><br />
<span style="font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<div>
Andrew Graham-Dixon, Coptic Art, Monastery of St. Antony</div>
source: <a href="http://copticliterature.wordpress.com/2012/06/19/theodore-the-coptic-master-who-painted-the-walls-at-saint-antonys-church-monastery-of-saint-antony-the-red-sea-egypt/">here</a></div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-size: large;">THE BRILLIANCE AND GENIUS OF
COPTIC ART AS REVEALED BY RECENT DISCOVERIES AND PRESENTED BY THE BRITISH ART
HISTORIAN AND CRITIC ANDREW GRAHAM-DIXON<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">JANUARY 11, 2012</span></div>
<div class="MsoNormal" style="text-align: justify;">
<i>Source: <a href="http://copticliterature.wordpress.com/2012/01/11/the-brilliance-and-genius-of-coptic-art-as-revealed-by-recent-discoveries-and-presented-by-the-british-art-historian-and-critic-andrew-graham-dixon/">here</a></i></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0P2sR4N2gAribYE74KoY8vazlgTAXxFt_UtmYc5fkJyHT6hGJR8w44csBoN_FX8PHwehfbcEaaw2N7yCUPNi49PRRQz7vIrM2aoHWYt0QV4tdSCuuzXXPUR5TvSIa9EDQ3IMyl8MJGNrX/s1600/christ-pentacour.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0P2sR4N2gAribYE74KoY8vazlgTAXxFt_UtmYc5fkJyHT6hGJR8w44csBoN_FX8PHwehfbcEaaw2N7yCUPNi49PRRQz7vIrM2aoHWYt0QV4tdSCuuzXXPUR5TvSIa9EDQ3IMyl8MJGNrX/s1600/christ-pentacour.png" height="400" width="375" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<div style="text-align: center;">
<i>Christ
Pantocrator, or the Apocalypse; recently revealed wall painting </i></div>
<div style="text-align: center;">
<i>at the
Monastery of saint Antony, Egypt</i><span style="font-size: large;"><o:p></o:p></span></div>
<span style="font-size: large;"><i><br /></i></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">The brilliance and genius of
Coptic art and the Coptic artists have been hidden for centuries. The
Copts, who are the direct descendants of the Pharaohs, once <a href="http://copticliterature.wordpress.com/2012/01/11/the-brilliance-and-genius-of-coptic-art-as-revealed-by-recent-discoveries-and-presented-by-the-british-art-historian-and-critic-andrew-graham-dixon/">revitalised</a> by
Christianity, created some of the most beautiful art of humanity. This was
despite the fact that the Copts never had a state of their own or a secure
aristocracy that could sponsor art – rather, they experienced untold
persecution and oppression by the Romans, Chalcedonian Byzantines and lastly
the Muslims. The Islamic persecution, never remitting except during short
periods of history, was particularly severe and systematic during the reign of
the Fatimid <a href="http://copticliterature.wordpress.com/2012/01/11/the-brilliance-and-genius-of-coptic-art-as-revealed-by-recent-discoveries-and-presented-by-the-british-art-historian-and-critic-andrew-graham-dixon/"><b>Caliph</b></a>,
al-Hakim (997-1021) and the Mamlukes (1250-1517) who launched in the 14<sup>th</sup> century
a nation-wide series of campaigns of destruction of Coptic churches,
manuscripts, works of art and culture. What was left us, or
executed after the 13<sup>th</sup> century, was passed by some
unsympathetic critics as great art “only in a very few cases.” But does that represent Coptic art or the Coptic
artistic talent and genius?<o:p></o:p></span><br />
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">Thank Providence that modern
renovation and restoration work in Coptic churches and <a href="http://copticliterature.wordpress.com/2012/01/11/the-brilliance-and-genius-of-coptic-art-as-revealed-by-recent-discoveries-and-presented-by-the-british-art-historian-and-critic-andrew-graham-dixon/"><b>monasteries</b></a> across
Egypt have revealed old works of art that lied hidden by layers of plaster or <a href="http://copticliterature.wordpress.com/2012/01/11/the-brilliance-and-genius-of-coptic-art-as-revealed-by-recent-discoveries-and-presented-by-the-british-art-historian-and-critic-andrew-graham-dixon/"><b>accumulating</b></a> soot
and dust. We are able now to look at Coptic work produced in the early
Christian centuries and up to the 13<sup>th</sup> century, and evaluate
it; and what a new understanding of brilliance and genius of Coptic art it has
brought us.<o:p></o:p></span><br />
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-_cdtvm7ZqfDyU0Wv-NU684gs5Ha9zwjHbU2evMHV2nP7QvYgg2sXkfOn0R5YaBAiAEAuRK1ZNq9QARyPBcQ3DYsizu2Jc5vT9ycNIT32HLwqUYkuun-Ul1VONu9eOC51CAbUF_6e6rOE/s1600/andrew-final.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-_cdtvm7ZqfDyU0Wv-NU684gs5Ha9zwjHbU2evMHV2nP7QvYgg2sXkfOn0R5YaBAiAEAuRK1ZNq9QARyPBcQ3DYsizu2Jc5vT9ycNIT32HLwqUYkuun-Ul1VONu9eOC51CAbUF_6e6rOE/s1600/andrew-final.jpg" height="221" width="400" /></a></div>
<div style="text-align: center;">
<i>Andrew Graham-Dixon, the brilliant British art historian and critic</i></div>
</div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b><br /></b></span>
<a href="https://www.blogger.com/blogger.g?blogID=7831747494465516185" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=7831747494465516185" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=7831747494465516185" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><span style="font-size: large;">Perhaps there is no live
art historian or critic in the world<i> </i>who matches the British Andrew
Graham-Dixon. It was great, certainly Coptia’s good luck, when he showed some interest in Coptic art in
2006. The result was <i>Art for Eternity,</i><b> </b>a three-part
television series for <a href="http://copticliterature.wordpress.com/2012/01/11/the-brilliance-and-genius-of-coptic-art-as-revealed-by-recent-discoveries-and-presented-by-the-british-art-historian-and-critic-andrew-graham-dixon/"><b>BBC4</b></a>,
which was first broadcast on 20 Aug 2007. The journey of the series<i> – </i>which
runs, broadly speaking, from the third century AD to the early years of
the <a href="http://copticliterature.wordpress.com/2012/01/11/the-brilliance-and-genius-of-coptic-art-as-revealed-by-recent-discoveries-and-presented-by-the-british-art-historian-and-critic-andrew-graham-dixon/"><b>fourteenth</b></a> century
– included a study of early Christian art in Roman, Byzantine, Coptic and early
Renaissance tradition. Speaking about it, he says: “Above all, I hope to show
that the achievements of Christian art during its first thousand years and more
are still capable of speaking to anyone, of whatever faith (or even of no
faith). This is an art that communicates a religious message, certainly, but it
also speaks to the most fundamental and universal human emotions: the fear of
death; the love of a mother for her child; the agony of seeing those who are
loved subjected to the violence of war and persecution. It might have its eyes
set on another world, beyond time and space, yet it also remains rooted in the
perpetual facts of human existence. I really believe that it is – in both senses
of the phrase – an art for eternity.”<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">About his encounter with Coptic
art, he writes on his website:<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<i><span style="font-size: large;">One of the principal aims of
the series is to explore some of the least visited corners of early Christian
art, and for me one of the greatest revelations came when I travelled to Egypt
to look at the art of the Christian Copts. <b>This was a tradition with
which I was previously unfamiliar – and about which precious little has been
written – yet which includes some of the most profoundly moving works of
Christian art ever created.</b> It is a tradition that survives only in
fragments, many preserved in Cairo’s Museum of Coptic Art. This is where the
earliest examples of the Coptic style – withdrawn, solemn but tremendously
vivid images of Christ and his Apostles, the Virgin Mary and the saints, dating
back to the fifth and sixth centuries – may be found. But the real treasure,
the culminating masterpiece of this much vandalised and fragmented art
tradition, is to be found in the wild and mountainous landscape of the south
eastern desert. Travelling there, I visited the ancient monastery of St Anthony
– the first Christian monastery ever established – and was quite simply stunned
by the painted decorations of its great church. <b>Only recently
discovered and restored, after centuries of neglect, this cycle of frescoes is
like nothing else in the Christian art tradition: stark but simple images of
monks, priests and martyrs, with wide and staring eyes; a Madonna and Child
painted in a style of such almost abstracted power and force that it resembles
nothing so much as a late Picasso (who himself looked back to the art of
earlier periods for inspiration, but could never have known this particular
image); a depiction of the Vision of Ezekiel that might evoke comparisons with
the sharp, dream-like paintings of the Dada and Surreal movements of the early
twentieth century.</b><o:p></o:p></span></i></div>
<div class="MsoNormal" style="text-align: justify;">
<i><span style="font-size: large;">One of the most fascinating
things about the art of the Copts is that it was created by a Christian
community that has never enjoyed any great worldly power, that has suffered
persecution throughout its history. It stands, in this sense, at the very
opposite end of the spectrum to the glittering mosaics of Christian Rome or
Byzantium. Coptic art, an art created in the humbler medium of fresco, its
colours those of earth and stone, is an art rooted in a very different sense of
poverty and humility – and a strong sense of the vanity of the things of this
world.<o:p></o:p></span></i></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><i><br />
</i>Graham-Dixon visits the Hanging Church (<i>El Muallaqa</i>) and
the Coptic Museum, both in Old Cairo (Coptic Cairo), the Red Monastery
(Monastery of St. Pishay) outside Sohag in Upper Egypt, and the Monastery of
Saint Antony at the Red Sea in the Eastern Desert of Egypt. While other
European visitors to Egypt were mostly visiting Egypt to explore Pharaonic
Egypt, Graham-Dixon went, as he tells us, “in search of different kind of
treasures, the great masterpieces of art – the early Christian paintings
obscured by centuries of neglect but which have recently been discovered here.
And they are truly are amongst the artistic wonders of the world.”<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">Graham-Dixon starts his
journey by visiting Old Cairo in the feast of St. George.
The occasion reminded him of South Italy; and he was not just struck by the
depth of the faith of the Copts but also by the friendliness and the festivity
of the event. Rather than lamenting and wailing the martyrdom of St. George,
the Copts were ululating at his festival in an expression of joy, almost
“persecution joy”. For a nation that has lived almost all its Christian history
under persecution, martyrdom must represented triumph of the spirit over the
forces of oppression and fear.<o:p></o:p></span><br />
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">He then visits the Hanging Church
and Coptic Museum. There he was struck with the intense spirituality of the
Copts. At the Museum he talks about the “pride of the place” – the Psalms of
David in the Coptic language; a manuscript from the fourth century, which is
the earliest and complete manuscript of the Psalms. “It is a battered book, as
if it was an object that survived from a fire. It is a symbol of not only how
Coptic Christians treasure relics of early Coptic Christianity but also a symbol
for more – of Coptic art tradition as a whole because it is a battered
tradition; a tradition that had to live through persecution, through migration
of populations. It is amazing that anything survived at all.</span><br />
<span style="font-size: large;"><i><br /></i></span>
<span style="font-size: large;"><i>[The reader is
strongly advised to watch the two videos I have posted below</i></span><i style="font-size: x-large;">to appreciate the high
quality of Graham-Dixon’s documentary]</i></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">To the Copts just as precious as
the word is the image. There were there some of wall paintings from the six
century, with very vivid faces. These are “master pieces”. “Tremendously vivid,
Picasso would have called it primitive power.” The Madonna suckling the Infant
Christ “has got something of Picasso about it”. “Perhaps the most striking
thing about Coptic art is the way the artist represents these eyes – these
extraordinary staring eyes. There is something peculiarly transfixing about
that gaze. It is not a gaze that is addressing you – it looks through you;
fixed on the idea and image not of this life but the life to come.”<o:p></o:p></span><br />
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">Coptic art tradition,
Graham-Dixon says, is essentially mysterious. So much of it has been lost
during centuries of persecution and destruction which makes tracing its origins
particularly difficult, but “The earliest origins of Coptic art lie in the
funerary art of Ancient Egypt; which, with its own cult of afterlife, suggests
why Christianity found fertile ground here. There is a direct connection
between the art of Ancient Egypt and the art of Coptic Egypt.” In Room 14 of
the Egyptian Museum, in Cairo, he finds another link – the Fayum Mummy
Portraits, which are almost Greek, and date from the first and third centuries.
They must have influenced the vivid Coptic depiction of Christ and his
Apostles. In this nexus Coptic art is also connected to the ancient Greek
painting tradition.<o:p></o:p></span><br />
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">But reading about it is not like
watching and seeing it. I strongly advise all of you to watch these two videos
that talks about Coptic art in <i>Art of Eternity</i>. Each is roughly 15
minutes long. Here is the first part:<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b><u>First video</u></b><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><a href="http://www.youtube.com/watch?v=foXCK_ieTrA&feature=related"><b>http://www.youtube.com/watch?v=foXCK_ieTrA&feature=related</b></a><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><i>Covers Graham-Dixon’s visits
to Old Cairo, where he attended the Feast of St. George celebration and visited
the Hanging Church and the Coptic Museum, and then to the Egyptian Museum</i><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">Graham-Dixon then goes to
visit two Coptic monasteries, the Red Monastery in Sohag and the Monastery
of Saint Antony at the Red Sea. As he says, Coptic monasticism influenced not
just Christianity but also world’s art and culture.<o:p></o:p></span><br />
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">The Red Monastery in Sohag dates
back to the six century. There he meets Professor Petsy Bolman (Elizabeth
Bolman), from the Temple University in Philadelphia, USA, and Director of the
White and Red Monasteries Project in Egypt. She was responsible for supervising the
restoration and renovation of the Red Monastery. There a new world of beautiful
Coptic art had been revealed. Bolman says about the fantastic art work that her
project has revealed, “It has enormous force. There is something magnificent
about this expanse of paint from floor to ceiling.” There was no disagreement
that Sohag’s Red Monastery was “one of the miracles of early Christian art”.
Graham-Dixon was struck by the explosion of colour in the wall paintings; the
vivid colour of late antiquity. As he says, “<b>It is a work of art created by
masters of their art the equal of any in the Byzantine Christian Empire.</b>”
Bolman mentions the outline, strong colour, fraternity, intense gaze of the
figures, and explains that the Coptic artists were “not interested at all in
creating a window into space on this surface. We tend to think that great art
is that which takes a flat surface and gives it a feeling of illusion of the
natural world around us. Here we see none of that whatsoever – not because they
couldn’t do it but because they didn’t want to do it.”<o:p></o:p></span><br />
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">At the Monastery of Saint Antony,
Graham-Dixon meets the charismatic Coptic monk,<i>Abuna</i> Maximus, who was responsible for restoration
and renovation of the monastery’s architecture and wall paintings. And there
also a wonderful world of Coptic art had recently been revealed. Graham-Dixon
says, “<b>I have heard the results were impressive but nothing prepared me for
the experience itself.</b>” As Fr. Maximus shows him round, he remarks, “<b>The
style is nothing like I have ever seen before in these unique and utterly
fascinating thirteen century wall paintings</b>.” Fr. Maximus points to the
Ancient Egyptian motif in the pictures; and they both find a connection in them
between Ancient Egypt and Coptic Egypt. It is not only the ecstatic connection
but the sense of line, the symmetry, the design and interest in math and
geometry.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b>“Like some of the faces,” Graham-Dixon
says, “were painted by Picasso”</b>. The Madonna, particularly (with everything
in it being circular) draws his attention. <b>“This is not primitive
(art). This is very sophisticated use of symbolism, very subtle, very clever
art.” </b>And he adds, “And also, she is so full of joy,” unlike the
Madonna figures in the West where she is depicted sad as she laments the death
of her Son. Fr. Maximus explains, “She is happy because she is the Mother of
the Saviour.”<o:p></o:p></span><br />
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">But Fr. Maximus saved the best
until last, and the two went to the Chapel of the Four Living Creatures where a
depiction of the Apocalypse was. There the fantastic colours and intense
spiritual feeling dominated. <b>“It was a work of genius; a masterpiece of
mystic surrealism.”</b> <b>“Even the sun and the moon have faces like a
modern children story book.” </b>That was a masterpiece that reminded him
of religious surrealism – “fantasy paintings of the 20<sup>th</sup> century;
total freedom”.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">At the end Graham-Dixon
concludes, “Coptic painting, little known but full of its fiercely expressive
sense of divine mystery, seems to me to be a microcosm of an entire world of
early Christian art. This was a vital tradition capable of assuming radically
different shapes and forms at different times and different places, yet always
connected to a central core – the life of Christ and the teachings of the
Apostles.”<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">But again, reading about it is
not like watching or seeing it:<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b><u>Second video</u></b><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><a href="http://www.youtube.com/watch?v=gcf643u279g&feature=related"><b>http://www.youtube.com/watch?v=gcf643u279g&feature=related</b></a><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><i>Explores the recent
discoveries at the Red Monastery in Sohag and the Monastery of Saint Antony at
the Red Sea.</i><o:p></o:p></span></div>
<div style="text-align: justify;">
</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
</div>
Anonymoushttp://www.blogger.com/profile/15536415371721057483noreply@blogger.com0tag:blogger.com,1999:blog-7831747494465516185.post-72694375718694798152014-08-03T00:40:00.001-07:002014-08-03T00:40:44.438-07:00Homily on Sunday XVIII, Year A, 2014, by Dom Alex Echeandía<div dir="ltr" style="text-align: left;" trbidi="on">
<h4 style="text-align: left;">
<b><span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt;"><br /></span></b></h4>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLEqg3lIO9XQ8dznC2SyPrBaxfAERnD58V8DD9mR-acNHU-Hb21Ix7GgI5c3LbJ-46SSyS068YTd6FRYABATvggYxYpzrp5k8cpAfu9Vc_jHKq6fMmZtzQYYGUABpMRWBBvbIGu-Z16gKL/s1600/icon_christ_loaves.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLEqg3lIO9XQ8dznC2SyPrBaxfAERnD58V8DD9mR-acNHU-Hb21Ix7GgI5c3LbJ-46SSyS068YTd6FRYABATvggYxYpzrp5k8cpAfu9Vc_jHKq6fMmZtzQYYGUABpMRWBBvbIGu-Z16gKL/s1600/icon_christ_loaves.jpg" height="256" width="400" /></a></div>
<h4 style="text-align: left;">
<b><span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt;"><br /></span></b></h4>
<div class="MsoNoSpacing">
<b><span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt;">Homily on
Sunday XVIII, Year A </span></b><span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt;"> <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<i><span style="font-family: "Bookman Old Style","serif"; font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">Belmont,
03<sup>rd</sup> August 2014</span></i></div>
<div class="MsoNoSpacing">
<span style="font-family: 'Bookman Old Style', serif; font-size: 12pt; line-height: 107%;">by
Dom Alex Echeandia</span><span style="font-family: 'Bookman Old Style', serif; font-size: 12pt;"> </span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-size: 12.0pt;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"> <i>“Jesus
took pity on them and healed the sick”<o:p></o:p></i></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><i><br /></i></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">You may have heard
that God cares for everyone and sustains everything, and indeed it is true. God
opens wide His hands and grant our desires. However, sometimes it can seem that
God does not care at all. We hear in the news how innocent people, including children,
are dying in <st1:place w:st="on"><st1:city w:st="on">Gaza</st1:city></st1:place>.
Where is God in all of that?, one may say. God’s care for us becomes puzzling
to our understanding. It is true that our understanding is limited, but God’s
love is not. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">Our disappointment
with God lacks an understanding of God’s ways. In these situations God is even
closer than ever. God suffers with those who suffer and experiences need with
those in need. It is what Jesus tells us about the last judgement: “I was
hungry, thirsty, naked, in prison and without a home.” God is very close to
those who suffer. As <st1:place w:st="on"><st1:city w:st="on">Saint Paul</st1:city></st1:place>
tells us today, that nothing can come between us and the love of Christ. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">God really does care
and suffer with our struggles. It is expressed in today’s gospel. God’s care
for us is shown in a miracle, a miracle by which we may learn about such love
of God that He offers. However, we are not only shown what God is and
does. The Scriptures also teach us about
ourselves. Jesus as Teacher not only shows us his mercy and love. He does not
only teach us about Himself. He also teaches us about ourselves. We sometimes
misbehave with God and our neighbour by way of selfishness, desires for power
and comfort.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">Let us see what
happened in that desolate place by the sea. There were thousands of hungry
people who were fed miraculously by God.
It shows how God cares. Miracles essentially are there to show God’s
action and to bring us closer to God. A miracle teaches us to care. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">This morning as we
sit in church many people in Gaza are suffering without a place to go. They
don’t even know if they will be alive the following morning. It is when the
Gospel makes sense in our lives to teach us how to care. When Jesus was
informed by the disciples about the lack of food, Jesus’ first reaction was:
“You give them something to eat”; “you look after them”, “you provide what your
neighbour needs most.” We can easily look away. However, God calls us to look
again and offer our gifts to others, even a greeting or a smile. Small efforts
towards others will indeed be multiplied by God to the point of producing so
much that others may collect the remaining food- up to twelve baskets! Love
must be shared; that love that comes from God and is expressed in so many
different ways.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">Christ as the good
teacher and shepherd shows us the way to be a Christian in the world. Our
desire for comfort tempts us to see God in our own image rather than us in His.
We prefer to keep God within us and within our home, indoors for nobody else.
It is an easier thing to do rather than going with Him outdoors in order to
offer our loaves of bread and fish, even the most insignificant thing we have
however valuable. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 107%;">Out of our
selfishness, God invites us to prefer the way of <i>koinonia</i>, a communion that lets God approach others through us. We
are free to follow Him because Christ is a shepherd on the hill and not simply
a keeper of creatures in zoos. As in <st1:place w:st="on">Paradise</st1:place>,
God walked with Adam and Eve in the garden. He also wants now to walk with you
and each of us in the company of our neighbour. And in order to be guided by
our Lord, let us feed our lives from the True Bread, from Jesus’ own Body and
Blood, as we celebrate the Banquet of Love, the Holy Eucharist, so that His
love may expand in us in this earthly life.<o:p></o:p></span></div>
</div>
Anonymoushttp://www.blogger.com/profile/15536415371721057483noreply@blogger.com0tag:blogger.com,1999:blog-7831747494465516185.post-4731089439251069552014-07-28T08:00:00.000-07:002014-07-29T04:38:51.717-07:00Christ Pantocrator Icon at Belmont Abbey<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 14.0pt; line-height: 107%;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu3qQ7fIj4XaTfscEPOMv3zgTNiCebcrntqxVVZ5GgPg3Ep_MZ2P2wwLdEQ-EYdkaukPic5vFJ6_wEqUMLgjczbMJbA34Cl_-YUi2C_ErBNJ2cM4MpnTEY-sUHEIqHKAQwO6Y3MoDXby4i/s1600/DSCF2937.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu3qQ7fIj4XaTfscEPOMv3zgTNiCebcrntqxVVZ5GgPg3Ep_MZ2P2wwLdEQ-EYdkaukPic5vFJ6_wEqUMLgjczbMJbA34Cl_-YUi2C_ErBNJ2cM4MpnTEY-sUHEIqHKAQwO6Y3MoDXby4i/s1600/DSCF2937.jpg" height="400" width="300" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<h4 style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif"; font-size: 14pt; line-height: 19.97333335876465px;">Talk given at Belmont on Saturday 26th July 2014</span></h4>
<div>
<span style="font-family: "Bookman Old Style","serif"; font-size: 14pt; line-height: 19.97333335876465px;"><br /></span></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; font-size: 14pt;">This finished icon is one that Fr Dyfrig started. In fact I have used
his drafts in order to produce what you see here in the Church. The drafts that
Fr Dyfrig used are based on the Christ Pantocrator, Saviour and Giver of Life, of
XIV century Greek origin, and which is placed now in the Museum of Macedonia,
Yugoslavia. <span class="yiv8963785761apple-converted-space"> </span>This
turn was base, as another icon of Christ Pantocrator from Sinai.<o:p></o:p></span></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; font-size: 14pt;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbjGH3mD7jPE6bZySJLsjAah_s2fmw3yBgbq7aqppXx2h7MgKEvsTtgixiHTbX6YD2tNFgGJWlRF0oVteohHujsXgF6xbGWuPMCdlXMp4mPL-roLn5MGI-hZ8q6zZfcpWruv_mZQfu6GB5/s1600/8387751916_0dcf728f7c_b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbjGH3mD7jPE6bZySJLsjAah_s2fmw3yBgbq7aqppXx2h7MgKEvsTtgixiHTbX6YD2tNFgGJWlRF0oVteohHujsXgF6xbGWuPMCdlXMp4mPL-roLn5MGI-hZ8q6zZfcpWruv_mZQfu6GB5/s1600/8387751916_0dcf728f7c_b.jpg" height="400" width="206" /></a></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<br /></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; font-size: 14pt;">Before I start to explain the meaning and symbolism contained in
this icon, let start by saying what an icon is. Etymologically, an icon is
translated from the Greek as “image”. Therefore, this icon of Christ is, <i>per excellence,</i> the icon of God, the
Image of the Father. The reason why we make icons is because God became man. As
Irenaeus said, the Word become one of us in order that we may become like Him.
Therefore, images of Our Lady and the Saints find their prototype in Christ,
the Image of God Invisible. We find here in the Abbey church a lot of images of
Christ, saints and angels, quite a lot I may say. They are made from stone,
glass, wood or other materials. The reason why we make these images is because
of the Incarnation. Iconoclasts and other people who based their understanding
in the Old Testament don’t consider the turning point of our faith, that God
became man in Christ.</span><span style="font-family: Calibri, sans-serif;"><o:p></o:p></span></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<br /></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; font-size: 14pt;">A sacred icon comes to people in three ways. First, as with any
other work of art, the icon attracts your eyes by the beauty it offers. As
Fyodor Dostoevsky said, beauty will conquer the world. It is towards beauty
that our minds and hearts are attracted. We say that a piece of music or a work
of art is beautiful. The eyes and ears are the most sensitive senses we have.
Therefore, images need to offer something of beauty to attract our attention.</span><span style="font-family: Calibri, sans-serif;"><o:p></o:p></span></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<br /></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; font-size: 14pt;">However, an icon is not simply a work of art. It offers a profound
spiritual richness that only comes by contemplating it. As iconogrpahers we are
called to be instrument of the Holy Spirit which is why we don’t put our names
on top of the image represented. We are not the authors. We believe that it is
Christ and His mother, and saints who come to us in order to be represented. I
am sure you have heard of an icon functioning as a window through which the
saint comes to the viewer. However, one may say that the icon works as a door
through which we can encounter God, Our Lady and the Saints and they can
encounter us. We can journey into the mystery by contemplating an icon. This is
what the faithful, especially among the Eastern Churches, believe is happening.
This is why an icon is always flat because it is in direct relation with the
viewer. </span><span style="font-family: Calibri, sans-serif;"><o:p></o:p></span></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<br /></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; font-size: 14pt;">The third way in which an icon is seen by the faithful is from a
theological perspective. The First Council of the Church at Nicaea
confirmed that Christ is the visible and perfect Image of the Father. However,
during the following centuries the Church struggled against heresies related to
Christ’s two natures, either denying the divine nature (Arians) or the human
nature (monophysites). Finally at Chalcedon it was declared that Christ was
fully human and fully divine, and He Himself embodied the union of two natures,
human and divine. This icon of Christ, God-Man, is a graphic expression of the
dogma of Chalcedon, for it represents the Divine Person incarnated, the Son of
God became the Son of Man, Divine as the Father and human like us.<o:p></o:p></span></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<br /></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; font-size: 14pt;">The icon of Christ the Pantocrator becomes a very important key to
understand this relationship of Christ as fully human and fully divine. The
danger of considering only one part of this relationship, leaving out the other
part, was so understood during the </span><span style="font-family: "Bookman Old Style","serif"; font-size: 14.0pt;">iconoclastic period. The argument in
favour of iconodules was based on the person of Jesus Christ, arguing that
through the Incarnation images of the Son of God and His saints are possible in
the Church.<span style="color: red;"><o:p></o:p></span></span></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<br /></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; font-size: 14pt;">As I said at the beginning of this talk, icons of Christ
Pantocrator go back to the one in Sinai. In fact, the oldest example of this
kind is the sixth century icon in the Monastery of St Catherine in the Sinai
desert. The well-known Icon of “Christ of Sinai” was probably written at
Constantinople, using the encaustic technique. This technique consisted in
mixing wax with pigment and applying the mixture on the wooden panel already
covered with gesso. The wax medium was replaced in later centuries by the yolk
of eggs, a technique seen in icons nowadays. This encaustic technique came
originally from Egypt. Examples can be seen in the portraits made for the
mummies. One may go to the Ashmolean Museum in Oxford or the National Gallery
in London, and appreciate the images placed on top of the mammies with the
portrayals which represented the person inside the sarcophagus. The same
technique is used in the image of Christ Pantocrator at the museum of St
Catherine´s Monastery, Sinai.</span><span style="font-family: Calibri, sans-serif;"><o:p></o:p></span></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; font-size: 14pt;"><br /></span></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; font-size: 14pt;">The word Pantocrator comes from a composed word Panto-crator. The
word “panto” is the genitive of pantos (all), meaning “of all”, and “crator”
(power, rule) is the participle present of “cratos” which means ruler, the one
in power. It is also interpreted as the One who embraces the whole of humanity,
the One who maintains all things. <o:p></o:p></span></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; font-size: 14pt;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_CqLXEXhaPE6fTxixPNVy4usQzQa7N9Tjdh6rJPGXdYB2Cxt21dQgphXAfJh06YtcvTYRAB36ov3lzbGi8XQjj3BkY6NG8geTK095JCb3gzbHFIuUaRkmNoYejRJuSiMLacykbAWUNAry/s1600/Pantocrator.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_CqLXEXhaPE6fTxixPNVy4usQzQa7N9Tjdh6rJPGXdYB2Cxt21dQgphXAfJh06YtcvTYRAB36ov3lzbGi8XQjj3BkY6NG8geTK095JCb3gzbHFIuUaRkmNoYejRJuSiMLacykbAWUNAry/s1600/Pantocrator.JPG" height="640" width="472" /></a></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<br /></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; font-size: 14pt;">The Icon of Christ Pantocrator we see here at the Abbey Church
shows facial characteristics of the adult Jesus. It expresses the reality of
the Incarnation of the Son of God, the True Image of the Father that The Gospel
of John proclaims in the prologue. The image of God Invisible that become one
of us. St Ireneus said, “The Son of God become the Son of Man, so that man
might become son of God.” Jesus Christ is the Image of the Father revealed to
us for our salvation. Therefore, the Image of Christ Pantocrator is the image
per excellence that gives meaning to all images.<o:p></o:p></span></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<br /></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; font-size: 14pt;">This icon, as with all the sacred icons, is embedded with theological
symbolism. As said before, the viewer can simply admire it at the basic level of
beauty that captures our attention. However, the symbolism of the icon goes
deeper than that for it brings into closer relationship the one who contemplates
it to the the person depicted, to Christ, Our Mother, and all the Saints. In
this way, the icon acts as a door rather than a window. We can look through a
window at those depicted but the relationship is, in a way, impersonal.
However, if the icon is seen as a door, that one can go through as well as the
saint can come to us, the relationship becomes more personal.<o:p></o:p></span></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<br /></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; font-size: 14pt;">As we look at the icon we can see its powerful background which is <span class="yiv8963785761apple-converted-space"> </span>of real gold. This
half-length image of Christ is enveloped in light represented by the gold.
Images of Christ in this form are founded in ninth century Psalters,
particularly placed near the words: “Shine on us, Lord, the light of your
face”. Moreover, one of the oldest Russian icons of this type (XII and XIII
century) called the Saviour with Golden Hair in the Cathedral of the Dormition
in Moscow, Christ is called King of Glory, as the inscription tells us.
Therefore, gold is not defined by a particular colour, but contains all the
colours as it acts by the reflection of the light. It recalls the divine light
that shines through the icon and tells us that we are encountering the divine.</span><span style="font-family: Calibri, sans-serif;"><o:p></o:p></span></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; font-size: 14pt;"><br /></span></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; font-size: 14pt;">The image that is surrounded by gold is simple and almost
symmetrical, the face is compact with a certain softness and appears brighter. Nevertheless,
the wide-open, asymmetrical eyes gaze beyond the confines of place and time.
Christ´s left eye is bigger than the other, and his left eyebrow is raised
higher that the other. It offers the identity of God: justice and mercy. They
are composed in a way that becomes harmonious, as the Psalm 85:10:
“righteousness and peace kiss each other.” <span class="yiv8963785761apple-converted-space"> </span>In this imposing image of
Christ there is a close relationship with biblical reproaches and prophetic
exhortations addressed in the Church by means of preaching and teaching. We
hear God in the Scriptures: “Cease to do evil and learn to do good.” This
biblical severity and directness is represented in Jesus’ left-side face.
Christ is presented as King and Heavenly Judge. He indeed rules with justice.
In fact, the big, open eyes give a theological message, he who created the
world never sleeps, but rather watches over it and saves it. <span class="yiv8963785761apple-converted-space"> </span>As the Psalm 12 says, the
Lord will keep your going and coming now and for ever.<o:p></o:p></span></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<br /></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; font-size: 14pt;">Icons try to answer the question of who Jesus is. As it is seen in
the two sides of the face, Jesus Christ appears as the Revelation of God.
Christ is seen as the merciful face of the Father. Christ said, “He that sees
me, sees Him who sent me” (John 12:45). Jesus Pantocrator expresses the strength
and authority of God. Christ the Judge is tempered by the Saviour’s merciful
face. “You are the fairest of the children of men” (Psalm 45). In Christ,
justice and mercy, truth and peace, are reconciled. This is the relation of a
divine humanity. <span class="yiv8963785761apple-converted-space"> </span>Christ
is at once Lord of the universe and the prototype of a transfigured humanity.
The iconographic type of Christ-Pantocrator expresses under the human features
of the Incarnate Son, the Divine Majesty of the Creator and Redeemer, who
presides over the destiny of the world.<o:p></o:p></span></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<br /></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; font-size: 14pt;">That strength and majesty is also seen in the nose and neck. The
long, narrow and straight nose underscores a firmness of mind and will. The
small, closed mouth stands for silence and inner strength. The thick neck
expresses the fullness of the breath of the Holy Spirit. The beard is a fine
filigree shading the face. The well-marked lines of the eyebrows and moustache
express a strong sense of pity and loving judgement of the world. It shows the
transfigured flesh of Him who suffered for us. The thick, gathered hair frames
the face, then falls in loose braids onto the left shoulder, suggesting a
slight turn of the shoulders. His hair </span><span style="font-family: "Bookman Old Style","serif"; font-size: 14.0pt;">also recalls the tree strands which
place in its centre the face of our Lord. As a tree
it suggests paradise, and symbolises Jesus as the Tree of Life and the New
Adam. The large detailed eyes, turned towards the onlooker, have an attentive
and saddened look which seems to penetrate the depths of consciences. Christ is
come into the world not to condemn, but to save it (John 3). The flesh tones,
like in the Icon of Sinai, is a result of a perfect balance between naturalism
and mystical transfiguration; it is, the richness of His humanity and
divinity. <o:p></o:p></span></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<br /></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; font-size: 14pt;">The halo bears the mark of the cross and the letters O, Ω, N
(omicron, omega and nu) stand for the holy name revealed to Moses on Mount
Sinai; “I am that I am”, “The Being”, “The One that is. Christ is God that
comes to meet his people. Moreover, on the same gold the name of Jesus Christ
abbreviated is place in Greek. The abridged name of Jesus Christ IC XC (above,
on our icon) designates the person of the Incarnate Son. A name in an icon
makes it a proper icon; it gives its identity. <span class="yiv8963785761apple-converted-space"> </span>Therefore, it is
obligatory for inscriptions of the name to appear on all icons of Christ, of
the Mother of God, and all the saints.<o:p></o:p></span></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<br /></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; font-size: 14pt;">Christ Pantocrator is shown holding the Gospel Book in his left
hand. The Book of the Gospel symbolises the new law given to humankind, as well
as the “Book of Life” mentioned in the Apocalypse (Rev 4). It is adorned with
precious blue and red stones. Christ´s right hand is in a position of blessing
the world. The fingers of the hand are gathered to symbolise Christ’s two
natures. <span class="yiv8963785761apple-converted-space"> </span>The
ring finger and thumb are united to symbolize the two natures of Jesus Christ,
which only Him has obtained. Jesus is truly human and truly divine, the
heavenly world has met the human world in Jesus.<o:p></o:p></span></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; font-size: 14pt;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicnxB9MuTDSkCVPx8rekBvWAYz0sBaWdEOPOv7sbu1SnpLKKv_dlmveFJOQ0pQgLageF45gXZ5zdAXsquvumn_Z9UT-UjgqSDWJgQuGBLNWz6qeTMHWY48_GcOq5wdnGi3U35NBj_Bzq_4/s1600/DSC02705.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicnxB9MuTDSkCVPx8rekBvWAYz0sBaWdEOPOv7sbu1SnpLKKv_dlmveFJOQ0pQgLageF45gXZ5zdAXsquvumn_Z9UT-UjgqSDWJgQuGBLNWz6qeTMHWY48_GcOq5wdnGi3U35NBj_Bzq_4/s1600/DSC02705.JPG" height="400" width="300" /></a></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<br /></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; font-size: 14pt;">He wears a green cloak and a red tunic, aspects of Christ´s two
natures, human and divine. As Pope Leo the great states in his text about God’s
humanity and divinity: “If you want to know who you are, look not to what you
have been, but to the image that God had I creating you. In Him there is all
His godliness, and all our humanity.”<o:p></o:p></span></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<br /></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; font-size: 14pt;">As we can see, the theme of Jesus´s identity goes through the
whole icon and teaches the faithful about Jesus Christ, Son of God. Thus, the
icon becomes first of all a door where God and His saints encounter His people
by the beauty it offers and by the teaching about Divine Mystery. If we
approach to icons with faith a bit of that mystery will be revealed to the one
who contemplates it, in order approach to God, not simply with the mind and the
theological teaching it offer, but more profoundly with the eye of the heart
that transports the viewer into God Himself.<o:p></o:p></span></div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="yiv8963785761msonormal" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; font-size: 14pt;">Finally, I want to thank for the expressions of charity and care
given by those who contributed to this icons. I know many people gave a lot of
gold leaves and other materials to finish the work that began time ago, from
the drafts Fr Dyfrig had. It was very sad to see him depart from us bodily by his
sudden death two years ago. We know now that he is very pleased by the acts of
love everybody have shown to the point that today this icon has been blest. Now
this icon of Christ Pantocrator of Belmont together with the other icon of Our
Lady of Tenderness will be used to our prayer and a place of encounter with our
Lord and God and all His Saints.</span></div>
</div>
Anonymoushttp://www.blogger.com/profile/15536415371721057483noreply@blogger.com0tag:blogger.com,1999:blog-7831747494465516185.post-51967482053029274942013-09-14T13:08:00.003-07:002013-09-15T02:22:13.102-07:00The Creed Illustrated in Monreale: Italian bishops launch TV program on stunning cathedral<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: justify;">
<i><span style="font-family: Georgia, Times New Roman, serif; font-size: large;"> </span><span style="font-family: Verdana, sans-serif; font-size: large;">The Italian bishops' conference have produced a twelve-part television series presenting the Creed from Sicily's Monreale cathedral, a 12th century church covered in rich mosaics which explain the faith, step by step. Join me here to hear and see what Fr Innocenzo Gargano, Camaldolese monk, has to say. He really explains very clearly the spirit of the images in this magnificent place.</span></i></div>
<div class="separator" style="clear: both; text-align: justify;">
<i><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></i></div>
<div class="separator" style="clear: both; text-align: justify;">
<i><span style="font-family: Verdana, sans-serif; font-size: large;">An initiative for the Year of Faith, “The Creed in the Mosaics of Monreale” presents the twelve articles of faith as they are found in Catholic Creed, or profession of faith. Enjoy!</span></i></div>
<div class="separator" style="clear: both; text-align: justify;">
<i><span style="font-size: large;"><br /></span></i></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/OmS8gnZe-tw?feature=player_embedded' frameborder='0'></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/X8sa-VfBU1Y?feature=player_embedded' frameborder='0'></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/lTz1i6-ruu0?feature=player_embedded' frameborder='0'></iframe></div>
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://img.youtube.com/vi/VIDkOB_dWPQ/0.jpg" height="266" width="320"><param name="movie" value="http://youtube.googleapis.com/v/VIDkOB_dWPQ&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="http://youtube.googleapis.com/v/VIDkOB_dWPQ&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/isFqvdqezCA?feature=player_embedded' frameborder='0'></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/ayAkZDlwvYw?feature=player_embedded' frameborder='0'></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/plHdoLf8vUI?feature=player_embedded' frameborder='0'></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/O36UaQx1lb0?feature=player_embedded' frameborder='0'></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/pEnXqIt7CoY?feature=player_embedded' frameborder='0'></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/zcbm5uMhouQ?feature=player_embedded' frameborder='0'></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/RLe0fmCSvPQ?feature=player_embedded' frameborder='0'></iframe></div>
<br />
<br /></div>
Anonymoushttp://www.blogger.com/profile/15536415371721057483noreply@blogger.com1tag:blogger.com,1999:blog-7831747494465516185.post-89245177668111693652013-09-14T11:53:00.001-07:002013-09-14T13:10:10.796-07:00XXIV Sunday of the Year C: Homily by Dom Alex Echeandía, OSB.<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNoSpacing">
<span style="font-family: 'Bookman Old Style', serif; font-size: 10pt; line-height: 115%; text-align: justify;"> </span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUVd6IBZnb_o7thBTfd0JvJz_qG3adz-1PplPb0W28q7ncRGPGwC7SaY2CFKV09dKJFw6b0VJriJVnT81OvoH7VbQBCTog3jAMCvEhb5WPxTemgsAUvVGQa8Jt2GtP31c1z07RMTQo3qT4/s1600/Rembrandt_Harmensz_van_Rijn_-_Return_of_the_Prodigal_Son..jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUVd6IBZnb_o7thBTfd0JvJz_qG3adz-1PplPb0W28q7ncRGPGwC7SaY2CFKV09dKJFw6b0VJriJVnT81OvoH7VbQBCTog3jAMCvEhb5WPxTemgsAUvVGQa8Jt2GtP31c1z07RMTQo3qT4/s400/Rembrandt_Harmensz_van_Rijn_-_Return_of_the_Prodigal_Son..jpg" width="306" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">Homily by Dom Alex Echeandía, OSB </span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">Belmont Abbey, 15th September 2013</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i><span lang="EN-GB" style="font-family: "Bookman Old Style","serif"; mso-ansi-language: EN-GB;"><span style="font-size: large;">We
should celebrate and rejoice because your brother here was dead and has come to
life; he was lost and is found.<o:p></o:p></span></span></i></div>
<div class="MsoNormal">
<i><span lang="EN-GB" style="font-family: "Bookman Old Style","serif"; mso-ansi-language: EN-GB;"><span style="font-size: large;"><br /></span></span></i></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;">When
we say that we have lost something, it can mean that we are deprived of what we
possessed before, like our car keys, for instance. We can also lose weight.
When someone wins, it implies that others lose; Germany lost the War; we can
lose a fight or a race or a football game. Often it means being deprived of
someone or something to which we are very much attached, like a wife, a
husband, a son or daughter, a boy or girlfriend. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;">The
Gospel of St Luke today shows us Jesus eating and drinking among tax collectors
and sinners, among those who were rejected by society; their way of life, their
behaviour had put them in the wrong. They were considered lost and were cut off
from their roots. However, Jesus has something in mind. In order to help people
to make sense of his attitude and actions towards these people, he tells three
parables. First, there is the parable of the lost sheep, then that of the lost
coin, and finally that of the lost son.
As we see in these three stories, a great joy comes when what was lost
is found. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;">However,
the stories are not about that which was lost but about the person who loses
them: a shepherd, a woman and a father. The shepherd and the woman search with
enthusiasm, energy and spirit till they finally find what they are looking for.
Well, let us concentrate on the well-known story about the so called “prodigal
son” because, unlike an animal or a coin, a son, as a human being, is closer to
ourselves. Rather than focusing on the figure of the son, we need to focus on
the human relationship, not only of the father with the younger son, but his
relationship with the other son as well. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;">At
the centre of this parable is the great concern and affection of the father,
his readiness to forgive and to welcome his son back home. He is not happy
because he found his lost son, but because his son found himself. After
squandering all he had, after rejecting any family attachment, the son had to
suffer the consequences of his actions. He thought he had achieved autonomy and
independence in his desire to be a real man; and, at first, thought that it was
necessary to leave his father's house to achieve maturity, but what he
discovered was failure and nothingness, a poor life of selfishness and vanity,
devoid of any meaning or joy. Moreover, by breaking off relations with his
father and his family in order to follow his own desires, he had committed sin.
<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;">The
story tells us that he came to his senses and decided to return to his Father's
house. This illustrates what it means to be a repentant Christian: God is inviting
him back home.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;">In
the first reading Moses reminds God of the covenant he made with Abraham, Isaac
and Jacob. The people of Israel are
invited to return to God and to love him as they did long ago. The second
reading shows God calling Paul to his service. Paul himself recognized how God
was patient and merciful to him.
Certainly God is like that. He calls and He remembers, but he asks us
now to remember as well and to come back home. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;">In
the parable, the Father was moved with pity and ran towards his son whom he saw
from afar. God is all the time calling
us home. God has the same attitude to the other brother who was angry,
resenting his Father’s overabundant love and mercy for his younger son. In his
anger, he also became lost and he cut himself off from the joy and happiness of
his father's household. He became an alien in his own home. It says that the
father “came out” to plead with him. He
needed to come back home as well, remembering what his loving father said to
him: “My son, you are with me always and all I have is yours.” The father did
not give up inviting him because he wanted to have the two children united with
him as one family. Such is the love God
shows us. He never gives up, even if we frequently give up seeking him in our
daily lives, committing many infidelities and with many failings. However, God
is persistent and, all the time, he wants to show his mercy and love to
us. Rather than giving us what we
deserve, God shows compassion towards us, towards you and me; and also towards
the older brother who is behaving badly.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;"><br /></span></span></div>
<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;">This
is what God is asking us today: to come home once again. It is not enough just
to enjoy the banquet prepared by God all by ourselves, but we are asked to
invite our brother who remains wilfully outside: we are all invited to this
happy and joyful celebration. We are to be drawn, called and brought into
unity. The state of our Christian family is marked by our enthusiasm for the
sons’ return. We are given the task to call all others who ignore how much God
loves them. As we begin this Home Mission Sunday for the Church in England and
Wales, let us pray and support the work of evangelization of the people of God,
our brothers and sisters in Christ who, for different reasons or situations
have drifted away from the practice of their faith and don’t come to church
frequently, those who feel estranged, who don’t feel at home. Let us announce
to them the Good News, how important they are to God and how much-loved they
are as members of Christ's body. Let us not be content with mere words: more
important, let us show them by our example.</span></span></div>
</div>
Anonymoushttp://www.blogger.com/profile/15536415371721057483noreply@blogger.com0tag:blogger.com,1999:blog-7831747494465516185.post-62560531883119236122013-09-08T04:44:00.000-07:002013-09-08T06:59:03.538-07:00XXIII Sunday of the Year: Homily by Dom Alex Echeandía, OSB.<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNoSpacing">
<span style="font-size: large;"><b><br /></b></span></div>
<div class="MsoNoSpacing">
<span style="font-size: large;"><b><br /></b></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdS-oS_exlOHmvwm6U0yVGrJvLcDGwDWj82UTMJtiR16ZPDL16l3zr4NS5mOGZ69vFr0H-aU2o1OpyRTNkhqJiwCOJKFPm0AITlKE-TReK6v7ETVC8O_bk5XUo-CEu5kTDoDjKjfHTo_0W/s1600/Jesus's+disciples+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdS-oS_exlOHmvwm6U0yVGrJvLcDGwDWj82UTMJtiR16ZPDL16l3zr4NS5mOGZ69vFr0H-aU2o1OpyRTNkhqJiwCOJKFPm0AITlKE-TReK6v7ETVC8O_bk5XUo-CEu5kTDoDjKjfHTo_0W/s400/Jesus's+disciples+.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="MsoNoSpacing">
<span lang="EN-GB" style="font-size: large;"> </span></div>
<div class="MsoNormal" style="tab-stops: 192.2pt; text-align: justify;">
<span lang="EN-GB" style="font-family: 'Bookman Old Style', serif; line-height: 115%;"><i>Homily by Dom
Alex Echeandía, OSB </i></span></div>
<div class="MsoNormal" style="tab-stops: 192.2pt; text-align: justify;">
<i style="text-align: left;"><span lang="EN-GB">Belmont Abbey, 08 September 2013</span></i></div>
<div class="MsoNormal" style="text-align: justify;">
<i><span lang="EN-GB" style="font-family: "Bookman Old Style","serif"; mso-ansi-language: EN-GB;"><span style="font-size: large;"><br /></span></span></i></div>
<div class="MsoNormal" style="text-align: justify;">
<i><span lang="EN-GB" style="font-family: "Bookman Old Style","serif"; mso-ansi-language: EN-GB;"><span style="font-size: large;">“Anyone who does not carry his cross and come after me
cannot be my disciple.”<o:p></o:p></span></span></i></div>
<div class="MsoNormal" style="text-align: justify;">
<i><span lang="EN-GB" style="font-family: "Bookman Old Style","serif"; mso-ansi-language: EN-GB;"><span style="font-size: large;"><br /></span></span></i></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "Bookman Old Style","serif"; mso-ansi-language: EN-GB;"><span style="font-size: large;">When Jesus started his ministry, a large crowd of followers were attracted
by him, full of admiration for the great signs he showed. When Jesus called Peter and his brother
Andrew, his first disciples, they were amazed by the amount of fish they got in
that miraculous event. The other two important figures among the Apostles were
James and John, who also at one point wanted to sit next to Jesus on his right
and left, and probably their mother wanted to have a nice place in the kingdom
as well, due to her children. Moreover, the rich man wanted to follow Jesus,
that is to say, to become a Christian, as a kind of second label as well as
enjoying his comfortable and secure life.
Indeed, there are well known
passages in the Gospels where apparently quite ordinary people become disciples
of Jesus because it was good to be with Him, to see the wonders he did and, in
addition, to attain a privileged place in the kingdom that they could enjoy. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "Bookman Old Style","serif"; mso-ansi-language: EN-GB;"><span style="font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "Bookman Old Style","serif"; mso-ansi-language: EN-GB;"><span style="font-size: large;">In today’s gospel it seems as if he wants to thin out the crowd, to put off
those who were mere opportunity seekers. He started by telling them that they
have to hate all those to whom they belonged, their entire family. Can you
imagine if someone asks you, “What do I have to do to be a member of this
parish”?, or better yet, “What do I have to do to be a Christian?” So I say,
“Please turn to Luke 14.”<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "Bookman Old Style","serif"; mso-ansi-language: EN-GB;"><span style="font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "Bookman Old Style","serif"; mso-ansi-language: EN-GB;"><span style="font-size: large;"> So, why would Christ do that?
Well, Jesus had come to a decisive point in his ministry. He put this process
of becoming a disciple in a different and less romantic light because he
expects his followers to be committed to him in such a way that they would
reject all self-seeking and replace it with a disinterested love for others,
for Christ’s sake. But he still goes further, saying that anyone who wants to
be his disciple has to be prepared also to die, to be crucified as Jesus
Himself will be crucified. They had to
prefer the will of God to any other more natural attachment. To love one’s mother,
father, spouse, children and grandchildren certainly manifest the love of
Christ Himself, but here we are called to prefer God, even to carry the cross
and be crucified. This is no easy and
attractive way to be a disciple, but it is the only way. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "Bookman Old Style","serif"; mso-ansi-language: EN-GB;"><span style="font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "Bookman Old Style","serif"; mso-ansi-language: EN-GB;"><span style="font-size: large;">So, what does it mean for us to follow Christ? What are the costs that
we need to take into account? Today’s scripture is so challenging that,
perhaps, it would help if we were to look at it in a new way.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "Bookman Old Style","serif"; mso-ansi-language: EN-GB;"><span style="font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "Bookman Old Style","serif"; mso-ansi-language: EN-GB;"><span style="font-size: large;">It is not easy to follow Jesus and being detached from the ones you
love, especially when they become an impediment to our following Him. In other words, it is saying to us: “Don’t
rush, think about it.” It is like planning to build a house or a tower. One
needs to think about all aspects of the project, how much it is going to cost
us to complete the plan. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "Bookman Old Style","serif"; mso-ansi-language: EN-GB;"><span style="font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "Bookman Old Style","serif"; mso-ansi-language: EN-GB;"><span style="font-size: large;">To construct a Christian life is a more important and a more costing
project than building a house. So, think
carefully what it implies to live that life.
Are you ready to pay what may be demanded of you, as the first apostles
did? After that first fishing
experience, Peter never thought of dying on a cross like his Master. </span></span><span style="font-family: 'Bookman Old Style', serif; font-size: large; text-indent: 36pt;">It never crossed James’ mind to be the first
to die among the Apostles. It is what Paul in prison shows us in the second
reading. He did not imagine that the encounter with Jesus in the light on the
road to Damascus meant that he had to follow Christ even unto death. </span><span style="font-family: 'Bookman Old Style', serif; font-size: large; text-indent: 36pt;"> </span><span style="font-family: 'Bookman Old Style', serif; font-size: large; text-indent: 36pt;">So, Jesus is not asking for mere enthusiasm
here, but for intelligence and realism and, above all, a generosity willing to
give all. It implies commitment from the ones who genuinely want to be his
disciples, as he found by the Sea of Galilee with Peter, James and John, and as
he found in Paul on the road to Damascus.</span></div>
<br />
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "Bookman Old Style","serif"; mso-ansi-language: EN-GB;"><span style="font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "Bookman Old Style","serif"; mso-ansi-language: EN-GB;"><span style="font-size: large;">The cost of being a Christian may be too high, and work may be too hard,
because these words that Jesus addresses to us are harsh words to hear, but if
we are going to be good disciples we need to act realistically about the
situation in which we live, in order to build a life in Christ. This is the
good news Christ brings. It is good news, because Jesus gives us an opportunity
to do something great with our lives, to give our lives to something more
important than ourselves. To turn our backs on cheap ways and avail ourselves
of a costly grace, a grace full of meaning and depth. </span><o:p></o:p></span></div>
</div>
Anonymoushttp://www.blogger.com/profile/15536415371721057483noreply@blogger.com0tag:blogger.com,1999:blog-7831747494465516185.post-66997386693991070522013-09-02T13:56:00.001-07:002013-09-08T07:11:12.089-07:00"Image and Icon" by Dom Alex Echeandía at Belmont Abbey (03)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNoSpacing">
<span style="font-family: Verdana, sans-serif; font-size: x-large;">Retreat on Icons</span></div>
<div class="MsoNoSpacing">
<span style="font-family: Verdana, sans-serif; font-size: large;"><b><span lang="EN-GB"><br /></span></b></span></div>
<div class="MsoNoSpacing">
<span style="font-family: Verdana, sans-serif; font-size: large;"><b><span lang="EN-GB">SESSION THREE: </span></b><span lang="EN-GB"> </span></span></div>
<div class="MsoNoSpacing">
<span style="font-family: Verdana, sans-serif; font-size: large;"><span lang="EN-GB"> <span style="color: #ffd966;"> </span><span style="color: #b6d7a8;"> </span></span></span></div>
<div class="MsoListParagraphCxSpFirst" style="margin-left: 90.0pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #b6d7a8; font-family: Verdana, sans-serif; font-size: large;"><span lang="EN-GB">a)
</span><!--[endif]--><span lang="EN-GB">Baptism<o:p></o:p></span></span></div>
<div style="border-bottom: solid windowtext 1.0pt; border: none; margin-left: 72.0pt; margin-right: 0cm; mso-border-bottom-alt: solid windowtext .75pt; mso-element: para-border-div; padding: 0cm 0cm 1.0pt 0cm;">
<div class="MsoListParagraphCxSpLast" style="border: none; margin-left: 18.0pt; mso-add-space: auto; mso-border-bottom-alt: solid windowtext .75pt; mso-list: l0 level1 lfo1; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #b6d7a8; font-family: Verdana, sans-serif; font-size: large;"><span lang="EN-GB">b)
</span><!--[endif]--><span lang="EN-GB">Eucharist<o:p></o:p></span></span></div>
</div>
<div class="MsoNormal">
<b><span lang="EN-GB"><span style="font-family: Verdana, sans-serif;"><span style="font-size: x-large;"><br /></span></span></span></b>
<br />
<div style="text-align: center;">
<b><span lang="EN-GB"><span style="font-family: Verdana, sans-serif;"><span style="font-size: x-large;">Baptism</span></span></span></b></div>
<b><span lang="EN-GB"><span style="font-family: Verdana, sans-serif;"><span style="font-size: x-large;"><br /></span></span></span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibNL-BPjZLMMVm5ixPiVcRWlsqsum8Q9GpWNZYDw9KDsIOp7E0ETqRSmod91XwVSUYqyg6cROgLK1-EdKG6rF8_uZtsHsmbXK_M5hgUtnmUYe_Ch7xrHeubXYE1FhT8pcknYACL8_itOR8/s1600/Baptism+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibNL-BPjZLMMVm5ixPiVcRWlsqsum8Q9GpWNZYDw9KDsIOp7E0ETqRSmod91XwVSUYqyg6cROgLK1-EdKG6rF8_uZtsHsmbXK_M5hgUtnmUYe_Ch7xrHeubXYE1FhT8pcknYACL8_itOR8/s400/Baptism+1.jpg" width="323" /></a></div>
<div style="direction: ltr; margin-bottom: 0pt; margin-left: 0.38in; margin-top: 5.76pt; text-align: center; text-indent: -0.38in; unicode-bidi: embed; word-break: normal;">
<span style="color: white; font-family: "Book Antiqua"; font-size: 24.0pt; language: en-US; mso-ascii-font-family: "Book Antiqua"; mso-bidi-font-family: +mn-cs; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;"> </span><span style="color: white; font-family: 'Book Antiqua';">Early XIV century, </span><span style="color: white; font-family: 'Book Antiqua';">Ohrid</span><span style="color: white; font-family: 'Book Antiqua';">, Serbia</span><span style="color: white; font-family: 'Book Antiqua';">
</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><span lang="EN-GB"><br /></span></span>
<span style="font-family: Verdana, sans-serif; font-size: large;"><span lang="EN-GB"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><span lang="EN-GB">Composition
of the i</span>cons for the
Baptism of Christ developed between the third and sixth centuries and they have
remained mainly consistent since then. Icons show the Lord Jesus appearing and
revealing himself in public in a special way. Not just the Son, but the two other
persons of the Trinity are manifested: one in a form of a dove and the other the
voice that calls upon his son. Here the Holy Trinity is revealed, Christ is
baptized and the origins of Christian baptism are discerned. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The
Epiphany for the West is mainly focused on the visit of the Magi; while in the
East, what is called “Theophany” or “Epiphany” relates to the Baptism of Christ.
This separate celebration of Christ’s Baptism feast dates from the fourth
century.<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%20THREE%20Revised...docx#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[1]</span></span><!--[endif]--></span></a> Before
that it was united to the Nativity. This separate celebration was a reflection
of the situation in the Church at the time. In the fourth century, the Church was prepared
to answer questions about the divinity of Christ raised by Arius from
Alexandria (250-336 AC). Is Jesus divine?
Does this mean that he is God? “Of course”, we may say, but it was not
certain in the first centuries of Christianity. Icons of Baptism reflect the
teaching of the Church at the Council of Nicea in 325. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">Jesus is the Second
Person of the Trinity, God the Son Incarnate from the Virgin Mary. Thus, icons manifest
in colours, lines and other elements the teaching of the Church at the councils,
the central truth of our faith, like the Divine Maternity of Mary, Her
Virginity and that Christ is the incarnate Son of God, truly God and truly Man
united in one person. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The
icon of the Baptism of Christ reproduces the gospel account. It also contains
other elements taken from the liturgy and from other biblical texts. The
implication of the Trinity, for example, at the beginning of Genesis: “Let
there be light” is implied in the symbol of the ray of light at the centre of
the icon.<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%20THREE%20Revised...docx#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[2]</span></span><!--[endif]--></span></a> It
also recalls the column of light in the desert as God’s presence. The Trinity is manifested in the icon without
divisions. It is a unity. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqlthQFc-p4oiwMowPx7TlN44aGJRXqO19gLZhlshBVLXIKNdW1mhZwE0CzeHulNgSECknAoN-WfabX12_nsilvQMCrdznufDYdPaISjvdk4DMW8y5MrHAcAaMmOwW_Pqtf187WN16aB9o/s1600/Baptism+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqlthQFc-p4oiwMowPx7TlN44aGJRXqO19gLZhlshBVLXIKNdW1mhZwE0CzeHulNgSECknAoN-WfabX12_nsilvQMCrdznufDYdPaISjvdk4DMW8y5MrHAcAaMmOwW_Pqtf187WN16aB9o/s400/Baptism+3.jpg" width="292" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">Christ
in the Jordan blessed the water in order that we may enter into a renewed life,
a new creation. Christ immersed in the Jordan symbolized our own immersion in
the waters of Baptism. Christian baptism follows Christ in the Jordan.
Liturgical text and liturgical actions in the East accompany this event. Texts
refer to Christ saving Adam by cleansing and enlightenment. He comes to slay
the enemy hidden in the waters in order to deliver the world from his snares
and give eternal life to mankind.<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%20THREE%20Revised...docx#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[3]</span></span><!--[endif]--></span></a> Dragons
are frequently represented in this icon and in hymns derived from the Psalm
74:13 “You divided the sea by your might; you broke the heads of the sea
monsters on the waters.” Other texts show a sense of paradox like: The master
baptized by the servant, the Source of joy baptized in the streams of the
Jordan, the Invisible becoming visible at the Jordan. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">In
practice, the liturgical act is an extension of what Christ did at the Jordan.
The waters were blessed and the life of his creation renewed. So, the day
before Theophany, called Forefeast, the first blessing of the water is for the
sacrament of Baptism and other uses in the Church. It takes place at the centre
of the church. The second blessing of water takes place outside in the environment
such as rivers and seas because they are related to nature for the use of
everyday’s life. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnSs5aZqg3D_-xGBlSfn3Lx93KAEuxFDdEEk4tqwpF7qkLsXjiwDdvVXYnYctdzq19vxpEON8MfYNGMFhoLv0dIQR_2BdfXyd1EYyBx3LB6yXYFxilZU_jMgROeF5p69So2D_leNSLlRSg/s1600/Baptism+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnSs5aZqg3D_-xGBlSfn3Lx93KAEuxFDdEEk4tqwpF7qkLsXjiwDdvVXYnYctdzq19vxpEON8MfYNGMFhoLv0dIQR_2BdfXyd1EYyBx3LB6yXYFxilZU_jMgROeF5p69So2D_leNSLlRSg/s400/Baptism+2.jpg" width="400" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">Water
as a key element of material creation becomes instrument of renewal, healing
and sanctification administered by the Church. In the icon the dark central
area representing the waters of the Jordan looks very much like a mouth of a
cave. It may recall to similar features to the icons of Nativity and <i>Anastasis</i> (Easter). He is portrayed
standing naked in the Jordan symbolizing the nakedness of Adam. His right hand
is always blessing the waters. Above Christ is John the Baptist with his right
hand on Jesus’s head and with the other pointing out either the one who is been
baptized or to the one who send him, all in the light of the Trinity. He is in
a higher level representing the humility of Christ, the Servant of God<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">On
the right there are angels attending this mystery. They show that heavens are
participating in this cosmic event at the Baptism of him who is Human and
Divine, God and Man at the same time. Their hands covered and their bowed position
show a sign of veneration. At the top of
the icon we see the dark blue shape representing the divine reality from which
comes a ray that contains in it the dove descending on Christ. It also is seen
in icons of the Annunciation and Nativity manifesting the Trinity in a
mysterious way bringing about in different events God’s plan of salvation. The
dove also is related to the story of the flood in the Old Testament in the
figure of Noah. It involves destruction and a new beginning. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The
sacrament of Baptism takes us into Christ work of redemption achieved by his
death and resurrection. It is signified in his baptism, because here the Holy
Trinity has been manifested as it was manifested at the Transfiguration of
Christ. The words of the Father are very similar, and the cloud that covered
Jesus and the shape of dove upon Jesus reveal the link between these two
events. The image of the Baptism of
Christ is interpreted as the opening of a path to a new life. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgCosfCbhIIEeciv8Hw9-o7ytsd0AXmzQCi2DVHYc4MH7j6S5Q80P78aperHb4AntwmEhBF8czr5OhOHyZhMXr3R5DXNYVLXrZKZYYehyphenhyphenGCl2cg4YXCkploHlW0wScPrd44hgBdBQ6gxkh/s1600/Baptism+4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="353" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgCosfCbhIIEeciv8Hw9-o7ytsd0AXmzQCi2DVHYc4MH7j6S5Q80P78aperHb4AntwmEhBF8czr5OhOHyZhMXr3R5DXNYVLXrZKZYYehyphenhyphenGCl2cg4YXCkploHlW0wScPrd44hgBdBQ6gxkh/s400/Baptism+4.jpg" width="400" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The movement from death to
life reminds us that his death and his resurrection opens the door to our own
resurrection in Him. John Chrysostom said: "Going down into the water and coming
up again in baptism are the image of the descent of Christ into Hades and of
his resurrection."<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%20THREE%20Revised...docx#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[4]</span></span><!--[endif]--></span></a>
Thus, the icon of the Baptism of Christ, like all other true icons, is embedded
in Scripture and the Tradition of the Church. They exist in order to invigorate
the spiritual and theological life of the faithful. Through these icons we can
approach God and God can approach us in a more familiar way. We can meet the
Lord in his mysteries as we prepare our hearts to be responsive to God in the
ordinary circumstances of our lives.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<b><span style="font-family: Verdana, sans-serif;"><span style="font-size: x-large;">Eucharist</span><span style="font-size: large;"><o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;"><span style="font-size: x-large;"><br /></span></span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIbFOcJGiLerN_vlDPwrKn2A7SjWmqk7Rt3ebznY9p7si5Ou_hcU-4q0bXUgSNtFOZk_C_yZYlpHqEosA8f2q1pja8lbTxsL1qyNtYbbIQEpAcUWjTA5lgydnEDJG0Bq01TgxgXOvBFQjt/s1600/Trinity,+Alex+osb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIbFOcJGiLerN_vlDPwrKn2A7SjWmqk7Rt3ebznY9p7si5Ou_hcU-4q0bXUgSNtFOZk_C_yZYlpHqEosA8f2q1pja8lbTxsL1qyNtYbbIQEpAcUWjTA5lgydnEDJG0Bq01TgxgXOvBFQjt/s400/Trinity,+Alex+osb.jpg" width="320" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"> A
good icon that refers to the Eucharist is the Famous Trinity icon of Andrei
Rublev. It is based on the Old Testament account of the hospitality of Abraham
under the oak of Mamre.<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%20THREE%20Revised...docx#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[5]</span></span><!--[endif]--></span></a>
The three mysterious pilgrims which the bible called angels announced the miraculous
birth of Isaac, an announcement that fulfilled what God had promised to
Abraham. This event became a source of patristic interpretations, but it was in
the East of the ninth and tenth centuries that used it in liturgical and
theological works.<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%20THREE%20Revised...docx#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[6]</span></span><!--[endif]--></span></a>
They saw in this event the symbolic apparition to Abraham of the Holy Trinity. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The
three angels, grouped together in a conversation round the table, outline the
shape of a circle, a perfect figure. Symbols of the bread and the chalice
contain a calf’s head. It is the symbol of the lamb of sacrifice which becomes
the centre of the circle. It refers to
the passion, death and Resurrection of Christ, the love manifested in the
sacrifice of the cross. So, the Icon of the Trinity as Eucharist shows us that
God’s love for man which results in the Incarnation has its origin in the very
Nature of the Triune God as Eternal Love and Communion. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The
lines that make up the image are replete with theological implications.. We can
also concentrate on the “back to front” perspective. It is not a natural,
temporal and realistic perspective. The
point in the picture where all lines meet is not, as in other pictures, behind
the figures: they meet in the heart of the person looking at the icon!! It is
as though the persons are looking at us, that we are the picture, rather than
the other way round. It is not man who contemplates God but God who contemplates
man. In the same way, Christ offered Himself in his body and blood to us
without any merits from our part. The icon
draws us into the dimension of the eternal. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">There
are various interpretations of the individual persons. The Father may be on the
right because this would put Christ on his right, which is his normal
position. On the other hand, He may be represented
by the angel on the left because the other two persons wear stoles, and he does
not. A stole means that a person has
been sent. Both the Son and the Spirit were sent; the Father was the One who
sent the Son and the Spirit. What most people who interpret this icon agree, is
that the Son is in the middle. He is blessing the cup and the the gifts, as he
did in the last Supper and on the Road to Emmaus. He is also the one the People
of God saw face to face when he became man. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">So,
the meal prepared by Abraham and Sarah prefigures the Last Supper. It was
during the Last Supper that Christ founded the Church and instituted the
Sacrament of the Eucharist. In addition, a liturgical Eucharistic act is seen
here. The two angels at each side stand for the priests saying the prayers over
the Eucharistic gifts. It is a
reflection of the Liturgy of Heaven. Thus, to share the table the Trinity also
recalls the Eucharist banquet of the Kingdom of Heaven.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<b><span style="font-family: Verdana, sans-serif;"><span style="font-size: x-large;">The Holy
Eucharist Icon</span><span style="font-size: large;"><o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="text-align: center;">
<b><span style="font-family: Verdana, sans-serif;"><span style="font-size: x-large;"><br /></span></span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3ibIz4EPM3V11y4bvTxrj8edDYoYZHnefxwzYfO3veAf9rAVQTpyiQoBXr1z-YYItHGCTVBdzh8yBT_MQiuO635h0JkWo2zXiAncln0TQjXbfNDesNSC1O9bVT0_U3AibsC8sgLoDOpoN/s1600/Holy+Eucharist.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3ibIz4EPM3V11y4bvTxrj8edDYoYZHnefxwzYfO3veAf9rAVQTpyiQoBXr1z-YYItHGCTVBdzh8yBT_MQiuO635h0JkWo2zXiAncln0TQjXbfNDesNSC1O9bVT0_U3AibsC8sgLoDOpoN/s400/Holy+Eucharist.jpg" width="400" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">Following
what we mentioned about the Eucharist banquet in heaven, this icon does not
depict an event from the life of Christ or His apostles. Rather, it represents
the timeless, eternal, and mystical event being celebrated celestially. The
Eucharist is not restricted to a particular time or place. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The
Eucharist was already described by St. Paul<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%20THREE%20Revised...docx#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[7]</span></span><!--[endif]--></span></a> as
the “proclamation” of Christ’s death and Second Coming. As the purpose of
Scripture is essentially the proclamation of the Kingdom and the announcement
of eschatologic<a href="http://www.blogger.com/blogger.g?blogID=7831747494465516185" name="_GoBack"></a>al realities, the Eucharist is a foretaste
of the Kingdom. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><span style="font-family: Verdana, sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><span style="font-family: Verdana, sans-serif;">The
icon frequently has the Scriptures on the altar with the words: I am the Living
Bread which came down from heaven. It comes from John’s Gospel 6:32. Christ is
presented as bread, and sometimes icons place Christ in a chalice symbolizing his
own body and blood. In other icons Mary is behind Christ in the shape of a
chalice representing the container, the one who bears the Lamb of God in her
womb.</span><span style="font-family: Bookman Old Style, serif;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><span style="font-family: Verdana, sans-serif;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJodYiYvwRFx8Qei5-Htj5qfOIuOPdlCS0bBSB7eYBnq0hju7XHYvjatYDaVXoUVw-xFfkJ-NbdIMTo5sq5I_Ac6qqqgcmdOUCqxlhgW_6qrUpU2nwLDQ7H24BT8bnLdCjsLjTRzrOGhGT/s1600/Mary+chalice.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJodYiYvwRFx8Qei5-Htj5qfOIuOPdlCS0bBSB7eYBnq0hju7XHYvjatYDaVXoUVw-xFfkJ-NbdIMTo5sq5I_Ac6qqqgcmdOUCqxlhgW_6qrUpU2nwLDQ7H24BT8bnLdCjsLjTRzrOGhGT/s400/Mary+chalice.jpg" width="310" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<br />
<div>
<!--[if !supportFootnotes]--><br clear="all" />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="ftn1">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%20THREE%20Revised...docx#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[1]</span></span><!--[endif]--></span></a> <span lang="EN-GB">John Chrisostom says: “It is not the day when
Christ was born that should be called epiphany, but the day when he was
baptised because before the day of his baptism he was not known to the people”.
Cf. <i>Festival of Icons for the Christian year</i>
by John Baggley, p. 49.<o:p></o:p></span></div>
<div class="MsoFootnoteText">
<br /></div>
</div>
<div id="ftn2">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%20THREE%20Revised...docx#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[2]</span></span><!--[endif]--></span></a> Cf. The <i>Art of the Icon</i> by Paul Evdokimov, p.
295.</div>
</div>
<div id="ftn3">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%20THREE%20Revised...docx#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[3]</span></span><!--[endif]--></span></a> <span lang="EN-GB">Cf. Cf. <i>Festival
of Icons for the Christian year</i> by John Baggley, p. 49. Text taken
from the Sixth Hour on the Eve of the Theophany.
<o:p></o:p></span></div>
</div>
<div id="ftn4">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%20THREE%20Revised...docx#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[4]</span></span><!--[endif]--></span></a> <i><span lang="EN-GB">Homily 1 Cor. 40</span></i><span lang="EN-GB">; PG 61,34 B.<o:p></o:p></span></div>
</div>
<div id="ftn5">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%20THREE%20Revised...docx#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[5]</span></span><!--[endif]--></span></a> <i><span style="font-family: "Bookman Old Style","serif";">Genesis 18</span></i><span lang="EN-GB"><o:p></o:p></span></div>
</div>
<div id="ftn6">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%20THREE%20Revised...docx#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[6]</span></span><!--[endif]--></span></a> <span lang="EN-GB">Taken from Dionisij Worshop 2000, p.12.<o:p></o:p></span></div>
</div>
<div id="ftn7">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%20THREE%20Revised...docx#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[7]</span></span><!--[endif]--></span></a> <i><span style="font-family: "Bookman Old Style","serif";">I Cor. 11</span></i><span lang="EN-GB"><o:p></o:p></span></div>
</div>
</div>
</div>
Anonymoushttp://www.blogger.com/profile/15536415371721057483noreply@blogger.com0tag:blogger.com,1999:blog-7831747494465516185.post-23615190893446941722013-09-02T07:47:00.003-07:002013-09-02T13:22:33.577-07:00"Image and Icon" by Dom Alex Echeandía at Belmont Abbey<div dir="ltr" style="text-align: left;" trbidi="on">
<h2 style="text-align: left;">
<span style="color: #ffe599; font-family: Verdana, sans-serif; font-size: x-large;"><span lang="EN-GB">Retreat on Icons</span></span></h2>
<div class="MsoNoSpacing">
<span style="color: #ffe599; font-family: Verdana, sans-serif;"><span lang="EN-GB"><i><span style="font-size: large;">on 31 August 2013</span></i></span><span lang="EN-GB" style="font-size: large;"><o:p></o:p></span></span></div>
<div class="MsoNoSpacing">
<span style="color: #ffe599;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="color: #ffe599;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="color: #ffe599; font-family: Verdana, sans-serif; font-size: large;"><b><span lang="EN-GB">SESSION TWO</span></b></span><span style="font-family: Verdana, sans-serif; font-size: large;"> </span></div>
<div class="MsoListParagraphCxSpFirst" style="margin-left: 90.0pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #b6d7a8; font-family: Verdana, sans-serif; font-size: large;"><span lang="EN-GB">a) </span><span lang="EN-GB">Annunciation<o:p></o:p></span></span></div>
<div style="border-bottom: solid windowtext 1.0pt; border: none; margin-left: 72.0pt; margin-right: 0cm; mso-border-bottom-alt: solid windowtext .75pt; mso-element: para-border-div; padding: 0cm 0cm 1.0pt 0cm;">
<div class="MsoListParagraphCxSpLast" style="border: none; margin-left: 18.0pt; mso-add-space: auto; mso-border-bottom-alt: solid windowtext .75pt; mso-list: l0 level1 lfo1; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #b6d7a8; font-family: Verdana, sans-serif; font-size: large;"><span lang="EN-GB">b)
</span><!--[endif]--><span lang="EN-GB">Nativity<o:p></o:p></span></span></div>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: x-large;">Annunciation</span></span></b></div>
<div style="text-align: center;">
<b><span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: x-large;"><br /></span></span></b></div>
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixaJuR07wj9JY4eNIfcKTA2mn3XSxQmxKXi2FgXRIX_Dk7fGwrDpDyZAzaVr0jj4AbL9O82o5lfBrsb0SYtfefKiNgAI8XgeAGfrehMEKA7GsEtKZJi8FjavT43CA04q24ylBNA2wh1ir0/s1600/Sinai+Annunciation.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixaJuR07wj9JY4eNIfcKTA2mn3XSxQmxKXi2FgXRIX_Dk7fGwrDpDyZAzaVr0jj4AbL9O82o5lfBrsb0SYtfefKiNgAI8XgeAGfrehMEKA7GsEtKZJi8FjavT43CA04q24ylBNA2wh1ir0/s400/Sinai+Annunciation.jpg" width="271" /></a></div>
<div class="MsoNormal">
<b><span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;">East and West have expressed central truths of Christianity. They have responded with great devotion and
creativity to the mystery of the Incarnation. The Annunciation is a great event
in the history of our redemption. Images communicate the beauty of the
Christian Mystery, of God made flesh in Mary’s womb. In addition, Scripture and
Tradition give us a theological reflection on our faith that we want to express
by images. The Gospel of Luke especially permits a good reflection of this
event, not merely by giving us the brute facts but providing us with wonderful imagery
in prose, hymns and poems within a liturgical context. Tradition gives Mary a
title: in the light of the incarnation, she is called the <i>Theotokos</i> (God’s bearer).
She is also the bridge that leads to heaven, the Burning Bush, the Lamp,
the Throne, the Ladder, the Gate, the Temple, the Tabernacle, the Ark of the
Covenant and the Chalice. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;">Mary plays a very important role in this mystery of the Incarnation
because the Revelation given through Christ shows that what was given in the
past, in the Old Testament, was fulfilled in the New Testament. Only in the
fullness of revelation given found in Christ, can the separate mysteries of the
Annunciation, Nativity and so on find their real meaning, be understood and be
expressed in images. So, in the Annunciation, Adam and Even are kept in mind.
This mystery involves the whole humanity. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;">Icons of the Annunciation are very numerous. In the Orthodox and Eastern
Churches they are frequently seen on the walls or pillars, on the iconostasis
of the Church which depicts the main feasts by a series of icons, on the Royal
Doors as well as in icons provided for veneration on the day of the feast. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpA5ES8IE6ESFlKpvZMBg0-xA_TBJKLMVN2lhJ8evgzXnXEeuk5mbixJ4HQ9e4aZMItnlY_loO4QiCZ1i0nxVgBQDjQmWUVxTiZyiMdtJhtWl2pAExE5R-9Z9qKedS3CbK8St1SJUqpY3N/s1600/Russian+Iconostasis.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpA5ES8IE6ESFlKpvZMBg0-xA_TBJKLMVN2lhJ8evgzXnXEeuk5mbixJ4HQ9e4aZMItnlY_loO4QiCZ1i0nxVgBQDjQmWUVxTiZyiMdtJhtWl2pAExE5R-9Z9qKedS3CbK8St1SJUqpY3N/s400/Russian+Iconostasis.jpg" width="400" /></a></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;">The earliest existing image of the Annunciation seems to be a third
century one in the catacomb of Priscilla in Rome; then it became widespread as
iconography developed. In the following centuries details such as the ray of
light descending on Mary and the dove suspended above her as a symbol of the
Holy Spirit became familiar. Some details in the depiction of the Annunciation
icon come from the apocryphal book of James: It refers to the life of Mary. At
the well, she hears a voice calling her, highly-favoured and blessed among
women. She moves away in fear, and is then approached by the angel as she is
working on the veil for the Temple. According to this apocryphal book the young
Mary had been chosen to fulfil the task of preparing the purple and scarlet
material to be used in the making of the veil.</span></span><a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%20TWO%20Revised..docx#_ftn1" name="_ftnref1" style="font-family: Verdana, sans-serif; font-size: x-large; text-indent: 36pt;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="line-height: 115%;">[1]</span></span></span></a><span style="font-family: Verdana, sans-serif; font-size: large; text-indent: 36pt;"> </span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span style="font-family: Verdana, sans-serif; font-size: large; text-indent: 36pt;"> </span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Go7KqS29FolfRjQSWOqmOOPS4EB4XxORICBLV-O_iFbGZ8O89RUZxb_kBqb6fZO00Q6Ox3OpnJQ8L30q5_8srW0_gErTcKtObC_suHNtD1Mv1Vo3Qwe8EAbpCoYw2hlVMPEZZbTSPl84/s1600/Catacomb.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: left;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Go7KqS29FolfRjQSWOqmOOPS4EB4XxORICBLV-O_iFbGZ8O89RUZxb_kBqb6fZO00Q6Ox3OpnJQ8L30q5_8srW0_gErTcKtObC_suHNtD1Mv1Vo3Qwe8EAbpCoYw2hlVMPEZZbTSPl84/s200/Catacomb.jpg" width="170" /></a></div>
<div style="margin-left: 1em; margin-right: 1em; text-align: right;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnosi0_lrj4j2Qd9uufsTk07uTicmkmvbioZ_dj23C94K_BRQN1VjujFKlKtcD-lhkf8SLtd6pFwawDuBgrhjmgCabgzQ0gsysk8Yik5yjAxfVHISatCGzR_odrCuuJjeyGmQZ0zUmj-cd/s1600/Annunciation+yarn.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnosi0_lrj4j2Qd9uufsTk07uTicmkmvbioZ_dj23C94K_BRQN1VjujFKlKtcD-lhkf8SLtd6pFwawDuBgrhjmgCabgzQ0gsysk8Yik5yjAxfVHISatCGzR_odrCuuJjeyGmQZ0zUmj-cd/s1600/Annunciation+yarn.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnosi0_lrj4j2Qd9uufsTk07uTicmkmvbioZ_dj23C94K_BRQN1VjujFKlKtcD-lhkf8SLtd6pFwawDuBgrhjmgCabgzQ0gsysk8Yik5yjAxfVHISatCGzR_odrCuuJjeyGmQZ0zUmj-cd/s200/Annunciation+yarn.jpg" width="146" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Verdana, sans-serif; text-align: justify; text-indent: 36pt;">2</span><span style="font-family: Verdana, sans-serif; text-align: justify; text-indent: 36pt;">nd Century Image Annunciation </span><span style="font-family: Verdana, sans-serif;">XIV century, Ohrid, Bulgaria.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span style="font-family: Verdana, sans-serif; font-size: large; text-indent: 36pt;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span style="font-family: Verdana, sans-serif; font-size: large; text-indent: 36pt;">It is not certain that the veil was for the
Holy of Holies, but it may refer to the veil at the time of Christ’s death, a
barrier between human and divine. So, this is why Mary appears in icons holding
the yarn; other icons show that this yarn is falling to the ground as she hears
the message of the Archangel. It can also mean that Mary is called to a higher
vocation and becomes herself the Temple of God, the </span><i style="font-family: Verdana, sans-serif; font-size: x-large; text-indent: 36pt;">Theotokos</i><span style="font-family: Verdana, sans-serif; font-size: large; text-indent: 36pt;">, the God’s bearer. Through this icon, Mary teaches us to
be detached, to let things go in order to receive a greater gift because, as we
experience in our own lives, attitudes and anxieties can impede the work of God
at a deeper interior level. </span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span style="font-family: Verdana, sans-serif; font-size: large; text-indent: 36pt;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;">Christians from the first four centuries used many sources to help them understand
the mystery related to Christ because the cannon of Scriptures was not strictly
defined at that time. Hence, the names of Mary’s parents, Joachim and Anne,
come from an apocryphal gospel. However,
the Gospel of St Luke is the principal source. The way in which the scene was
depicted at that time has influenced all future art and has become part of the
heritage, part of the Christian tradition down the ages. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;">In the Divine Liturgy, Mass for the West, is celebrated as a meeting of
the human and divine. The icon of the
Annunciation at the Royal Door, reflects the living dynamic of how the assembly
enter into the mystery that has been revealed in Christ. All this begins with
Mary’s response to God at the Annunciation. So the Annunciation shapes our
approach to worship; it calls us to collaborate in the reception of the gift of
Christ, in order to seek and do his will. So, frequently the Royal Doors of the
iconostasis have the figures of the four Evangelists, because it means that the
Gospel record has to be heard and lived. Thus, the Annunciation icon emphasised
the attitude of the worshipper in response to the Holy Spirit. It is not just
an intellectual response; it requires mind, heart and will, a new beginning in
Christ. </span></span><br />
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36pt;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4CSSMQ8bur5VgvSZ14zty35FGvt_GOLK3TMpoOELAEwgjYiQ5c9sJGnkj6uRwOLaIQ_aBVyf_9D4cPUtw6Yhxqu4Ugyh6M7TgwKRyriHvMNw4-hXuZtnxgiHJbeou3l2CJxTsBlCD5fPk/s1600/Royal+Doors.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-indent: 36pt;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4CSSMQ8bur5VgvSZ14zty35FGvt_GOLK3TMpoOELAEwgjYiQ5c9sJGnkj6uRwOLaIQ_aBVyf_9D4cPUtw6Yhxqu4Ugyh6M7TgwKRyriHvMNw4-hXuZtnxgiHJbeou3l2CJxTsBlCD5fPk/s400/Royal+Doors.jpg" width="268" /></a></div>
</div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<div style="text-align: center;">
<br /></div>
</div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;">The two standing figures, Mary and the Archangel Gabriel, make an impact
on the viewer and bring us into that moment in which God enters into human life
to renew and transfigure his creation. The significance of the event goes
beyond particular time and place; although it is celebrated as a specific event
in history. It opens new possibilities,
a reality of the divine presence seeking to enter in to this particular person,
the one that contemplates the icon. Thus, if Annunciation is closely related to
the Incarnation, when humanity has been taken back and united to God, the
celebration of this feast cannot be regarded simply as an event in the past.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;">The
icon of the annunciation is connected with the Crucifixion. To receive God, as
Mary did at the annunciation, also means the way to Calvary. The seventh canticle for Compline on Good Friday
in the Eastern Church, the lament of the Mother of God reflects this
relationship: “Where, O my Son and God are the good tidings of the Annunciation
that Gabriel brought me. He called you King and God and Son of the Most High;
and now, o my sweet Light, I behold you naked, wounded and lifeless.” Mary was
chosen to be the Mother of God, and it implied the cross. The same emptiness
and self-living love of God are manifested in these two events. Mary receives
the love and cherishes that love in the person of Christ. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span>
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span>
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span>
<b></b><br />
<div style="text-align: center;">
<b><b><span style="font-size: x-large;">NATIVITY </span></b></b></div>
<b>
</b><span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;">The
icon of the Nativity reveals what the First Council of Nicea in 325 discussed
on the Divinity-humanity of Christ. The
focus is not on Christ’s human birth as a mere historical fact. It is about
strongly emphasising Christ’s divinity. It is about the human birth of the
Second Person of the Trinity. It shows the invisible reality of Son of God that
takes place in the womb of Mary and is born in Bethlehem. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;">As we
know in the West, under the Franciscan influence, Christmas has a different character with the manger scene.
Popular devotion focused on a human side of the mystery: Joseph the carpenter,
the Child Jesus and his mother Mary. These images of the Holy family became
widespread in the West but which was totally unknown in the East. The emphasis was put in the celebration of
Man-God (Christology from below), different from the Eastern view of God-Man
(Christology from above). Icons are not principally sentimental. They reflect
on the mystery in order to increase the faith of the people.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;">The
Liturgy talks about God becoming flesh; God coming down to fill the virgin womb
of Mary as the answer to the fiat on behalf of the whole of humanity, in order
that man can become God (the deification of man). This is a central truth of
Christianity. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu_KK9_bY6lWwsZPE0EfL1j6dJTMPp_6KX5BS4cDABDP0l07a84dIkVIQWupdoqT1liYbkzpFJsizGHkJyHDDua7th_qsfRhZJ_yVApCHr8uFm30l4UrZr10hhwuQ6fgVhb6G396HaTOxo/s1600/Nativity.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu_KK9_bY6lWwsZPE0EfL1j6dJTMPp_6KX5BS4cDABDP0l07a84dIkVIQWupdoqT1liYbkzpFJsizGHkJyHDDua7th_qsfRhZJ_yVApCHr8uFm30l4UrZr10hhwuQ6fgVhb6G396HaTOxo/s640/Nativity.jpg" width="462" /></a></div>
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span>
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;">The
icon here is a 16<sup>th</sup> century Novgorod school. The type of this icon
goes back probably to an image in a church built by Constantine in the site
thought where the Nativity of Jesus took place.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;">This
image does not look busy: it has sober colours and lines, and the spaces within
it are perfectly separated. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;">The three
rayed light and the dove appears in this icon as well as in the icons of the Annunciation
and Baptism showing the manifestation of the Holy Trinity in different but
related events. The dove represents the Holy Spirit because it recalls the
Archangel’s words: “the Power of the Most High will take you under his shadow
(Lk 1:35). St Gregory of Naziansus on the feast of Nativity: “O world, […] with
angels and shepherds glorify the eternal God…Let us cry glory to God in the
Trinity.”<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%20TWO%20Revised..docx#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="line-height: 115%;">[2]</span></span><!--[endif]--></span></a>
This single ray signifies the one essence of God, and the division within the
ray signifies the participation of the three persons in the economy of
salvation. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJvK_Yxnup-5rnC2L07eK2Vx0dv7ws0X5VYu4H1D9l3T1TSNQHZPFvn6GGvYzjhiX6LedaTU5ahqvfylB7pZcm26M71-fTWQMxGcRTrqT_j3axz-xkh9vZhJ2fNr9O2AP5Oq-_itVBgNNJ/s1600/NATIVITY+RAY.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJvK_Yxnup-5rnC2L07eK2Vx0dv7ws0X5VYu4H1D9l3T1TSNQHZPFvn6GGvYzjhiX6LedaTU5ahqvfylB7pZcm26M71-fTWQMxGcRTrqT_j3axz-xkh9vZhJ2fNr9O2AP5Oq-_itVBgNNJ/s400/NATIVITY+RAY.jpg" width="292" /></a></div>
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span>
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;">Under
the descending ray is placed the child Jesus as the centre of the icon. The
True Bread is placed in the centre, in the house of Bread; that it what
Bethlehem means. The star serves to reveal Christ who might not be recognised
in a humble place. He is in a dark cave symbolizing that Christ is the light
that comes into the world: “the light shines in the darkness, and the darkness
has not overcome it”, as John refers in his prologue. The darkness is dispersed
by the power of the light. The depiction of the darkness symbolizes that the
human ignorance has been replaced by the knowledge brought by Christ, the light
of truth. Adam and Eve turn their back on God and hid themselves. </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;">They are
called back from that exile of darkness and sin. Christ calls them back though
his entire life: birth, life, ministry, death and resurrection. It is reflected
by the way he is depicted in the cave at Bethlehem. He is covered with
swaddling cloth prefiguring his death. His strange immobility recalls Holy
Saturday, the day of great rest. Birth
implies death; his mission was already depicted at his birth. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;">The
animals, ox and ass are shown adoring the incarnate Lord. It calls Scriptures
one more in the book of Isaiah: “the ox knows its owner, and the ass its
master’s crib.” In the New Testament, in the Gospel of Mathew 11:30 Jesus says: “My yoke is easy and my burden is light.” The
yoke is carried by the ox; the burden by the ass. These animals reflect what
Jesus offers to the believer. In that cave with the animals the Word became
flesh and dwelt among us, as the apostle John says. Thus icons contain a lot of
symbolism and we can explore them in many way. We can also say that the cave is
a place of a new life. It is a place of death and burial and also a place of
birth and resurrection. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinNHpVQhAKTvrnhYy0ny-z2GvgbC0N710jnfL6rfHVKdxMnS77vCpU5Onw7IKoNecqCxWRmMWyEB6-h7aRGFMJor4Az4fNmJcfcTZWzB7etV3B_FR8J0ft_egx6gS5KtQ4hea6bd3AfvRV/s1600/Nativity+Our+Lady.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinNHpVQhAKTvrnhYy0ny-z2GvgbC0N710jnfL6rfHVKdxMnS77vCpU5Onw7IKoNecqCxWRmMWyEB6-h7aRGFMJor4Az4fNmJcfcTZWzB7etV3B_FR8J0ft_egx6gS5KtQ4hea6bd3AfvRV/s400/Nativity+Our+Lady.jpg" width="400" /></a></div>
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span>
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;">The
figure of Mary, a Virgin Mother is reclining on a mattress, after having truly
given birth to the Incarnate Son. Many icons depict Mary marked by three stars
symbolizing her virginity before, during and after the birth of Christ. The
Virginity of Mary is a dogmatic truth of the Church. Her half-seated position implies an easy
birth because, unlike Eve, she was not under condemnation. She is the Eve, the
Mother of all the living. As the New Eve, she pronounced her fiat for everyone.
This is why she is the image of the Church because she represents the whole
humanity.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLpPXx3zCw-HnmLkq85WP_qlLMugRuui0kEFVjoyLntdvlRl5zgTt8r815ANsz6jj4EUwhsag00r5d95k6OqFX5hH10k72YpqFiW605HrNG80ym784KBeDOPEkJqkQj8ge3uW5_ynFy2PX/s1600/Nat.+Joseph.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLpPXx3zCw-HnmLkq85WP_qlLMugRuui0kEFVjoyLntdvlRl5zgTt8r815ANsz6jj4EUwhsag00r5d95k6OqFX5hH10k72YpqFiW605HrNG80ym784KBeDOPEkJqkQj8ge3uW5_ynFy2PX/s400/Nat.+Joseph.jpg" width="400" /></a></div>
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span>
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;">Joseph,
on the other hand, has an anxious pose because he still trying to comprehend
the mystery of the Incarnation. He knew he was not the father of the child
Jesus. By looking at this scene of Joseph, we also identify ourselves every
time we don’t understand or are tempted to neglect a central truth of our
faith. Joseph was tempted by the devil as it is shown at the bottom-left of
this icon. On the bottom-right are the midwives helping Mary with the child. This
comes from the Apocryphal book from the first centuries. </span></span><span style="font-family: Verdana, sans-serif; font-size: large;">This washing of the
child anticipates the baptismal bath at the beginning of Jesus’ ministry.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQidscVlRZBOD2TznRbJ0bdFdo1UxrNbU9sCSDYsLIbgV-cTY3-3WfzSzxo_6Ma9MCDL17gAdPNm-6HcgHgyWKGXo3Be2PLWSZLF4aS5Xf_gm88Mf2zdCXHHAhFjzCMhd15alQkrooQxt1/s1600/Nativity+angels.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="351" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQidscVlRZBOD2TznRbJ0bdFdo1UxrNbU9sCSDYsLIbgV-cTY3-3WfzSzxo_6Ma9MCDL17gAdPNm-6HcgHgyWKGXo3Be2PLWSZLF4aS5Xf_gm88Mf2zdCXHHAhFjzCMhd15alQkrooQxt1/s400/Nativity+angels.jpg" width="400" /></a></div>
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span>
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;">In the
higher part, are the angels, Magi and shepherds. The angels fulfil different
functions. Two of them, by looking toward the Source of Light are contemplating God face to face, in
eternity. They represent the unending praise of God in the heavenly liturgy. The
third on the right and lower part is fulfilling his role as messenger, which is
what the word “angel” means. He is bent towards mankind and watching like the
guardian angel. The other three by the cave are contemplating the Incarnate Son
of God, in human and divine natures. In addition, the magi are led by God to
worship him by predicting not only his death but his resurrection, through the
gold, the myrrh and the incense. Gold as the king of the ages; incense because
he is the God of the universe; myrrh because the Immortal one was going to
suffer death for three days and then rise again to save the world. Finally the
shepherds remind us of<a href="http://www.blogger.com/blogger.g?blogID=7831747494465516185" name="_GoBack"></a> the Good Shepherd, Christ himself.
They are receiving the message from the angel. However, another figure like the
shepherd is placed in a lower part. He is Satan who tries to convince Joseph
about the event related to Christ. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-size: large;"><span style="font-family: Verdana, sans-serif;">Thus,
angels, Magi and shepherds fulfil a role in revealing the mystery of the
Nativity of Christ. They manifest our faith in a symbolic world and allow us to
connect our heart, mind and spirit to the mystery of the Incarnation. Icons of
the Annunciation and Nativity have put together heaven and earth, divinity and
humanity depicted in one unity.</span><span style="font-family: Bookman Old Style, serif;"><o:p></o:p></span></span></span></div>
<br />
<div>
<!--[if !supportFootnotes]--><br clear="all" />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="ftn1">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%20TWO%20Revised..docx#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[1]</span></span><!--[endif]--></span></a> Cf. Festical Icons for the
Christian year by <i>John Baggley</i>, p.
27. It mentions how the council of priests call pure virgins of the tribe of
David to make the veil for the temple of the Lord. Mary was chosen. She then
went home to work on it.<span lang="EN-GB"><o:p></o:p></span></div>
</div>
<div id="ftn2">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%20TWO%20Revised..docx#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[2]</span></span><!--[endif]--></span></a> <span lang="EN-GB">Cf. <i>The
Art of the Icon</i> by Paul Evdokimov, p. 274. <o:p></o:p></span></div>
</div>
</div>
</div>
Anonymoushttp://www.blogger.com/profile/15536415371721057483noreply@blogger.com0tag:blogger.com,1999:blog-7831747494465516185.post-58047721998539648702013-09-02T04:13:00.000-07:002013-09-02T13:22:47.350-07:00"Image and Icon" by Dom Alex Echeandía at Belmont Abbey (Int.)<div dir="ltr" style="text-align: left;" trbidi="on">
<h4 style="text-align: left;">
<span style="color: #fff2cc; font-family: Verdana, sans-serif; font-size: large;"><b><span lang="EN-GB">Retreat on Icons </span></b></span></h4>
<h4 style="text-align: left;">
<i><span lang="EN-GB" style="color: #fff2cc; font-family: Verdana, sans-serif;">on </span><span style="color: #fff2cc; font-family: Verdana, sans-serif;">30</span><sup style="color: #fff2cc; font-family: Verdana, sans-serif;">th</sup><span style="color: #fff2cc; font-family: Verdana, sans-serif;"> August 2013</span></i></h4>
<div class="MsoNoSpacing">
<span lang="EN-GB" style="font-size: large;"><b style="color: #fff2cc; font-family: Verdana, sans-serif;"><span lang="EN-GB"><br /></span></b></span></div>
<div class="MsoNoSpacing">
<span lang="EN-GB" style="font-size: large;"><b style="color: #fff2cc; font-family: Verdana, sans-serif;"><span lang="EN-GB">SESSION ONE </span></b></span></div>
<div class="MsoNoSpacing">
<span lang="EN-GB" style="font-size: large;"><b style="color: #fff2cc; font-family: Verdana, sans-serif;"><span lang="EN-GB"><br /></span></b></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><span style="color: #b6d7a8; font-family: Verdana, sans-serif; font-size: large;">How to participate in the mystery of faith?</span></span></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #b6d7a8; font-family: Verdana, sans-serif; font-size: large;"><span lang="EN-GB"> a)
</span><!--[endif]--><span lang="EN-GB">Why does Christian art exist? – Incarnation – II Council
of Nicea<o:p></o:p></span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #b6d7a8; font-family: Verdana, sans-serif; font-size: large;"><span lang="EN-GB"> b)
</span><!--[endif]--><span lang="EN-GB">Meaning of Icons</span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<span style="font-family: Verdana, sans-serif;"><span style="color: #b6d7a8; font-size: large; text-indent: -18pt;"><span lang="EN-GB"> c)
</span></span><span lang="EN-GB" style="font-size: large; text-indent: -18pt;"><span style="color: #b6d7a8;">Roots of Iconography</span></span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<span style="font-family: Verdana, sans-serif;"><span lang="EN-GB" style="font-size: large; text-indent: -18pt;"><span style="color: #b6d7a8;"><br /></span></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://farm9.staticflickr.com/8497/8266781122_3627833266_z.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="400" src="http://farm9.staticflickr.com/8497/8266781122_3627833266_z.jpg" width="321" /></a></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<span style="font-family: Verdana, sans-serif;"><span lang="EN-GB" style="font-size: large; text-indent: -18pt;"><span style="color: #b6d7a8;"><br /></span></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"> A work
of art is a new creation. It manifests an organic unity. The artist strives to
so unite the different elements that a new reality comes into being, something
greater than its parts, something that bestows richness and purpose on all the
elements that make it up. This is true of icons as well as all other kinds of art. So, what is the difference between Christian
works of art and other works of art? It introduces another transcendent
dimension to the image which is seen in the light of Christ. It gives people a
new way of seeing things, in faith and meditation within Christian
spirituality.<o:p></o:p></span></span><br />
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;">Christian
art requires first the use of the most advanced artistic techniques and
artistic talent in the execution of the work. Together with the skills of the
craftsman, Christian art also receives from Tradition its Christian content. Christian
Tradition is the interior life of the Church, born out of the harmonious
cooperation between the Holy Spirit and the faith experience of the Church, and
is itself the extension of God’s incarnation.
Thus, Christian art first began during the centuries of persecution at
the very beginning of Christianity. In
the same Tradition, Christian art received new life from the dogmatic
deliberations of the great ecumenical councils. Tradition combines with Sacred
Scripture that it interprets to provide material for sacred art., Thus it is
rooted in the very heart of our faith.<o:p></o:p></span></span><br />
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;">Images
of God, as you know, were prohibited in Deuteronomy. Many believe that they are
still against God’s Law and that using them in prayer is a form of idolatry.
How can one make an image of the Invisible God? How can one represent the One
who has no quantity, height or limits? In fact, not all figurative
representation was prohibited in the Old Testament. There was the bronze
serpent<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="line-height: 115%;">[1]</span></span><!--[endif]--></span></a>
and the ordinances concerning the cherubim in the ark<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="line-height: 115%;">[2]</span></span><!--[endif]--></span></a>: “For
the two ends of this throne of mercy you are to take two golden cherubs, you
are to make them of beaten gold”. So,
the Jewish world, showed a certain tolerance towards images.<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="line-height: 115%;">[3]</span></span><!--[endif]--></span></a> <o:p></o:p></span></span><br />
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="line-height: 115%;"><br /></span></span></span></a></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJIwXeWl-k4EPxP73l6be5RbInxGtyIiyq6sHp3Qrco4XpQZRNyiZEBibT0wafdW6A4gfNQeN7wSKQvoORDz6twivFrJSY6PXDF5Z38grhkSZx8fgLdtrEc5c-o9NcuhjVEmE48Xl8jXOr/s1600/Abraham,+Alex+osb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJIwXeWl-k4EPxP73l6be5RbInxGtyIiyq6sHp3Qrco4XpQZRNyiZEBibT0wafdW6A4gfNQeN7wSKQvoORDz6twivFrJSY6PXDF5Z38grhkSZx8fgLdtrEc5c-o9NcuhjVEmE48Xl8jXOr/s400/Abraham,+Alex+osb.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="color: #ffd966;"><span style="font-family: Constantia; text-indent: -0.3in;">Mosaic Floor (517-528
AD) </span><span style="font-family: Constantia; letter-spacing: -1pt; text-align: justify; vertical-align: baseline;">Beth Alpha Synagogue</span><span style="font-family: Constantia; letter-spacing: -1pt; text-align: justify; vertical-align: baseline;">, </span></span><span style="color: #ffd966; font-family: Constantia; letter-spacing: -1pt; text-align: justify;">discovered in
1922 in the Northern District of Israel. </span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Constantia; text-align: justify;"><span style="color: #ffd966;">Scene of
Abraham preparing to sacrifice his bound son Isaac</span></span></div>
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="line-height: 115%;"><br /></span></span></span></a></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;">In
fact, for a Christian the Incarnation of God in Mary, brought about a new
situation, a new reality, a New
Creation. As St Paul says, Christ is the image of the invisible God.<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="line-height: 115%;">[4]</span></span><!--[endif]--></span></a> Thus,
for us Christians there should be no problem using images of God as signs of
our faith because God has provided us with the Image of all images. John
Damascene against iconoclasm declared: “I don’t adore the matter, but the Creator of the matter who became matter for me, and through this matter I was saved.” The incorporeal
one became man for you. So, it is possible to make his human image. By Christ
becoming man, one may see the image of the one who was seen by the Apostles in
human features.<o:p></o:p></span></span><br />
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;">Damascene
was a very important figure in the difficult time of iconoclasm, when there was
a misunderstanding related to images. Iconoclasm means rejection or destruction
of religious images seen as heretical. It involved religious icons, symbols or
monuments. Iconoclasm was motivated by
people who adopted a literal interpretation of Scriptures texts which forbids
the making and worshipping of "graven images or any likeness of
anything"<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="line-height: 115%;">[5]</span></span><!--[endif]--></span></a> <o:p></o:p></span></span><br />
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif; font-size: large;"><a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="line-height: 115%;"><br /></span></span></span></a></span></span>
<span lang="EN-GB"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEEnTXJbo9efdsPslmwlzRzrl-FMvzUQQchBovXSVC5DKpeaEJA6aJmucK23WkcnKQanBt2wAiaQVg_HzSGQ81RmALM1eehlZgF9Yn27MVC6Op_NXp28hORv56qD6slqsY0fuYiHmImKYe/s1600/fresco+-+iconoclasm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEEnTXJbo9efdsPslmwlzRzrl-FMvzUQQchBovXSVC5DKpeaEJA6aJmucK23WkcnKQanBt2wAiaQVg_HzSGQ81RmALM1eehlZgF9Yn27MVC6Op_NXp28hORv56qD6slqsY0fuYiHmImKYe/s320/fresco+-+iconoclasm.jpg" width="320" /></a></span><br />
<div style="text-align: center;">
<span style="color: #f1c232;">Fresco destroyed in Cappadocia</span></div>
</div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span>
<span style="font-family: Verdana, sans-serif; font-size: large;">Iconoclasm
appeared in the Byzantine Empire during the 8th and 9th centuries. Since Constantine
was converted and declare Christianity the religion of the Empire, images were
allowed to represent Jesus Christ or other important figures of Christianity.
The iconoclasts viewed the use of icons as pagan idolatry and therefore wanted
to remove them from Christian worship. They also believed that the icons might
be Nestorian. According to their view, art
can only depict the human nature of Jesus, leaving undepicted his divine
nature, thus separating these two natures which, in fact, are united in One Person.<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[6]</span></span><!--[endif]--></span></a> If
the icons portrayed only the human side of Jesus, they could not help but
promote a Nestorian Christianity as opposed to the true Christianity.<o:p></o:p></span><br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6vgL3P7tf2_kxghMVo7KRnFZWLFArYE6i9-p_VlLgZfDSM63p_22dGREJtl10RxorpFl-tsal-MCoWLFJlvkURYFFZqCPlPY5t1MTYN-Zv8vh0LBmeZ-5SRvXts3iBdXL88mY2szNhZ6e/s1600/Fresco+iconoclasm+II.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6vgL3P7tf2_kxghMVo7KRnFZWLFArYE6i9-p_VlLgZfDSM63p_22dGREJtl10RxorpFl-tsal-MCoWLFJlvkURYFFZqCPlPY5t1MTYN-Zv8vh0LBmeZ-5SRvXts3iBdXL88mY2szNhZ6e/s320/Fresco+iconoclasm+II.jpg" width="320" /></a></div>
<div style="direction: ltr; margin: 6pt 0in 0pt 0.3in; text-align: center; text-indent: -0.3in; unicode-bidi: embed; word-break: normal;">
<span style="color: #ffd966;"><span style="font-family: Constantia; letter-spacing: 0pt; vertical-align: baseline;">From a manuscript Psalter</span><span style="font-family: Constantia; letter-spacing: 0pt;"> 68, Constantinople 843</span><span style="font-family: Constantia; letter-spacing: 0pt; vertical-align: baseline;">
</span></span></div>
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The
II Council of Nicaea in 878, the seventh of the ecumenical councils, restored
the use and veneration of images.<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[7]</span></span><!--[endif]--></span></a>
This council used texts from Scriptures and the Fathers and proved that the
veneration of images was legitimate. The central truth of the Council was
focused on the honour given to images. They receive veneration (<i>proskinesis</i>), and not worship (latria),
which is reserved for God alone. What is more, images are not the ultimate
object of veneration because the image only has a reality in relation to the
object represented. The image is the reflection of the prototype, Christ; the
veneration is transformed into worship. Thus iconoclasm was condemned as heresy
and liturgical veneration of images was re-established. Monks in the East
played an important role in its restoration.<o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">Now,
when we <span lang="EN-GB">talk on the subject of images, we need to refer to
icons, frescoes, mosaics, oil paintings as well minor arts. Here </span>let us concentrate in what an
icon means. What is the essence of an icon? What are its roots? <o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The
word icon comes from Greek εἰκών eikōn "image" It
also means likeness, reflection. When you look at your mirror and look at
yourself it is also an icon. Thus this
word has different meanings.<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[8]</span></span><!--[endif]--></span></a>
However, when we refer to images of Christ and the Saints we can call them the “holy
icons”.<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftn9" name="_ftnref9" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[9]</span></span><!--[endif]--></span></a> This image or reflection we find in the icons.
St Steven the New<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftn10" name="_ftnref10" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[10]</span></span><!--[endif]--></span></a>
in the 8<sup>th</sup> century call the icon a “door”. It is a way to enter, to
access the age to come; it is a way to encounter, to meet with the communion of
Saints. As a door, the icon fulfills a mediating function. It makes person and
events present to us: Christ, Our Lady, the Saints. Through the icon we
participate in the mystery that is depicted. So icon means presence. </span><br />
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span>
<span style="font-family: Verdana, sans-serif; font-size: large;">Some
people call it a window, from which one can see. A door is something through
which we pass and we can become part of what is on the other side of the door.
The door can also permit someone on the other side to come to us; and, in an
icon, Christ can come to us from the heavenly kingdom in order to meet us face
to face. The icon makes the person
present to us. <o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4OVLVhSoN28lrybMj_WSsEhQdRvnLGFxIOc7HwbPfWmk0qFGYCdYyubDgIxZMx6O2BtY2CifV4IS9f6I7HrBG8m2x7fxG23aY2IM73tPujEDz3XIwzg7CtBYnngx4d4ZecYUi5I7ZeeJr/s1600/Pantocrator.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4OVLVhSoN28lrybMj_WSsEhQdRvnLGFxIOc7HwbPfWmk0qFGYCdYyubDgIxZMx6O2BtY2CifV4IS9f6I7HrBG8m2x7fxG23aY2IM73tPujEDz3XIwzg7CtBYnngx4d4ZecYUi5I7ZeeJr/s400/Pantocrator.jpg" width="277" /></a></div>
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The
icon is seen from three aspects: artistic,
theological and liturgical An icon is a
work of art, with human and natural qualities. At a higher level, the icon has
a theological meaning that teaches the people of God. Finally it is used in a
liturgical context because the icon exists in an atmosphere of prayer and
worship. Out of this context of prayer it loses its meaning, because,
principally, it is sacramental, a sign that makes what is holy present. The
Eucharist makes Christ present in the bread and wine after the consecration. At
a different level, paint and board make Christ and saints present to us. By
itself the icon does not become Christ as in the Eucharist, but it reveals the
presence of Christ and His Saints in a special way. Icons reflect the reality
of the incarnation. The iconographer uses wood and paint from God’s creation by
which God’s glory is presented in a new way: thus is the world offered back to
God. <o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">In
addition, the icon is a product of Tradition that is formed within different cultures
and styles. The icon, as well as the Early Christian art, did not develop in a
vacuum. It is a result of a concrete evolution, and different cultures have
contributed to its historical evolution. So, we can mention three main roots
that have made the icon what it is today. <o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">From
the ancient culture of Egypt icons received a profound sense of presence. Egyptian
art normally shows calm men and women acting from an inner calm to express
piety, family affection and social harmony. This is exemplified in the <i>Elousia</i> icon, which takes the ‘family
affection’ prized by the Egyptians into a new dimension. Egyptian art is based
on the hieroglyph, which like Chinese writing expresses primarily an idea that
the writer intended to convey. The icon expresses specific information and is
immediately recognizable by its form. In the icon the child is a miniature
adult, and it is noteworthy that the reason given here is to draw attention to
the fully human quality of the child.
This can be contrasted with a modern attitude that justifies abortion on the grounds that
the unborn child is not fully human. (An example of this type that came to
Christian art and iconography is the example of “Mother & child” 1470 BC).<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftn11" name="_ftnref11" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[11]</span></span><!--[endif]--></span></a> <o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif; font-size: large;"><a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftn11" name="_ftnref11" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="line-height: 115%;"><br /></span></span></span></a></span>
<span style="font-family: Verdana, sans-serif; font-size: large;"><a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftn11" name="_ftnref11" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="line-height: 115%;"><br /></span></span></span></a></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTmu8_TTdO3tCbSSdmXG1TlZgkmBATMQ_JKZURDm7LKK3hAhP7HtoNJ4-nzMW1UcKuFZjJsbouZA-FkhD4mlU3LjuKWp8Xdj8fDjcUeeNqg3HXkoljJhePXvHVWtEKko2KS4qzqd5Vk-UV/s1600/Egypt.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTmu8_TTdO3tCbSSdmXG1TlZgkmBATMQ_JKZURDm7LKK3hAhP7HtoNJ4-nzMW1UcKuFZjJsbouZA-FkhD4mlU3LjuKWp8Xdj8fDjcUeeNqg3HXkoljJhePXvHVWtEKko2KS4qzqd5Vk-UV/s320/Egypt.jpg" width="232" /> </a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmgyRMqBKkIAESquZqB8w5nSBhu8j9edEgAdiRn_UEjx2sMa0SECRCiltsaocrhql-kHIwkk-OhhK5HuzderMpcitLvVVmpeg1JUgWByIzu4Q3N4tCc4Ud3aO7xQu6w2Qj-TL09mnELT-Y/s1600/Sinai.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmgyRMqBKkIAESquZqB8w5nSBhu8j9edEgAdiRn_UEjx2sMa0SECRCiltsaocrhql-kHIwkk-OhhK5HuzderMpcitLvVVmpeg1JUgWByIzu4Q3N4tCc4Ud3aO7xQu6w2Qj-TL09mnELT-Y/s320/Sinai.jpg" width="192" /></a></div>
<span style="font-family: Verdana, sans-serif; font-size: large;"><a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftn11" name="_ftnref11" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="line-height: 115%;"><br /></span></span></span></a></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">Egyptian
canon to depict an image was very influential in iconography. A Egyptian figure
found in the tomb of a priest shows how they measure out the dimensions of the
body which had not changed since 1900 BC. The image of the body remained.<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftn12" name="_ftnref12" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[12]</span></span><!--[endif]--></span></a> <o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif; font-size: large;"><a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftn12" name="_ftnref12" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="line-height: 115%;"><br /></span></span></span></a></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">In
practice, icons received a lot from the Egyptian art. Gesso was used for the
mask to cover bodies from the earliest period (c. 2,000 B.C.). The gesso was
made from glue and whiting, as today, and often polished to a very smooth
finish. The
surface was pointed in dense colours from a limited palette, or covered with gold
leaf. Flat colour
and simple natural tones were characteristic; the emphasis was on pure simple
unmixed colour. Low relief carving as with icons was an important form of art. Workshops
were under the direction of an educated supervisor, familiar with several
crafts, able to recognise an inferior standard of work and to correct errors.
Many similarities can be
seen between this approach to sacred art and the later approach of the
Christian icon. <o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">From
the pagan Greeks the image possessed a mystical character. Statues of Athena
and Artemis of Ephesus were said to be not made by human hands and to have
fallen from heaven. These images were decorated with flowers and were venerated
through a rite of unction.<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftn13" name="_ftnref13" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[13]</span></span><!--[endif]--></span></a> We
may say that the head of Medusa was a pagan model that Christians may have used
to depict the person and the effectiveness that its holds. Artistic inspiration came from different
sources that for us can be difficult to make understand, but for the first
Christians it was a new way of looking at things. <o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQtg3DSyKYvhs-V_AGDSB-lP4_Z0M-5yi-bbuRnVny0V3KYn4OSn88mF-TZg6q82b2i5dx1yjfNsWbJWspJKh9YlcEacF-p9H9RsjjSVazLq7m0iNPZN79e1UnlHa24xipaNmxLyzUdcUL/s1600/Artemis.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQtg3DSyKYvhs-V_AGDSB-lP4_Z0M-5yi-bbuRnVny0V3KYn4OSn88mF-TZg6q82b2i5dx1yjfNsWbJWspJKh9YlcEacF-p9H9RsjjSVazLq7m0iNPZN79e1UnlHa24xipaNmxLyzUdcUL/s320/Artemis.jpg" width="215" /></a></div>
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span>
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">In
the Roman world images played a special role. They were also influenced by the
Greek culture. The portrait of the ruler was worshipped as cult objects.</span><span style="font-family: Verdana, sans-serif; font-size: large;"> </span><span style="font-family: Verdana, sans-serif; font-size: large;">They
were honored as gods. Under special circumstances, the image of the emperor
became a legal substitute; it was a vicarious presence of the emperor
himself. If the portrait of the emperor
was present in court, the judge could decide a case as if it were the Caesar
himself. It was also seen when the cities offered the keys to the emperor as a
sign of submission. The keys were given to another person but in the presence
of the emperor’s image. It was considered legal. The theory behind icons still
remains as it was from the time of the Romans. Another element we find in icons
is the halo. It is argued that Mithras was the origin of the halo around the
head of Christ and the Saints. The Roman god Mithras was always shown with a
halo, and this symbol was adopted by the Christian Church to signify the
concept of divinity in sacred images.</span><br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEzS4TwpLCvn7B4bqjmNStfqP1g5VGN91wF1I96iYUVoodVSf3Jixf-Nwuxx_m7Bl3-RrDdgxc8sJDLdlXqeQ4np79EN8btpvY87QEkF7XMuk9dczjQBLyYAlJTxLhcbg7hBK01Zia84aB/s1600/Emperor.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEzS4TwpLCvn7B4bqjmNStfqP1g5VGN91wF1I96iYUVoodVSf3Jixf-Nwuxx_m7Bl3-RrDdgxc8sJDLdlXqeQ4np79EN8btpvY87QEkF7XMuk9dczjQBLyYAlJTxLhcbg7hBK01Zia84aB/s200/Emperor.jpg" width="198" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQq_wtc9wqqkx6FnGOnc3JxO_gh6wnsJw7rN-p_q3NP99K1Vg1t-0QzO_z5tgZHwP8EsqnfbC5R1QteuR6nUOFuGvr5eDhoHeBCbZGY_lZKmg3zFL0fDvWoMUR1ZN29eT6I70_n_WtoBx8/s1600/Halo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQq_wtc9wqqkx6FnGOnc3JxO_gh6wnsJw7rN-p_q3NP99K1Vg1t-0QzO_z5tgZHwP8EsqnfbC5R1QteuR6nUOFuGvr5eDhoHeBCbZGY_lZKmg3zFL0fDvWoMUR1ZN29eT6I70_n_WtoBx8/s200/Halo.jpg" width="200" /></a><br />
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span>
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><span style="font-family: Verdana, sans-serif;">Thus,
the development of iconography and other Christian art was rooted in different
cultures and traditions and took from them what can express the faith of the
believers. </span><span style="font-family: Bookman Old Style, serif;"><o:p></o:p></span></span></div>
<br />
<div>
<!--[if !supportFootnotes]--><span style="font-size: large;"><br clear="all" />
</span><br />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="ftn1">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; line-height: 115%;">[1]</span></span><!--[endif]--></span></a> <span lang="EN-GB" style="font-family: 'Bookman Old Style', serif;">Cf.
Numbers 21:4-9</span></div>
</div>
<div id="ftn2">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; line-height: 115%;">[2]</span></span><!--[endif]--></span></a> Cf. <span lang="EN-GB" style="font-family: "Bookman Old Style","serif"; mso-ansi-language: EN-GB;">Exodus
25:18</span></div>
</div>
<div id="ftn3">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; line-height: 115%;">[3]</span></span><!--[endif]--></span></a> <span lang="EN-GB" style="font-family: "Bookman Old Style","serif"; mso-ansi-language: EN-GB;">A good
example is found in the discovering of Synagogues in Israel.</span></div>
</div>
<div id="ftn4">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; line-height: 115%;">[4]</span></span><!--[endif]--></span></a> <span lang="EN-GB" style="font-family: "Bookman Old Style","serif"; mso-ansi-language: EN-GB;">Cor.1:15</span></div>
</div>
<div id="ftn5">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; line-height: 115%;">[5]</span></span><!--[endif]--></span></a> <span lang="EN-GB" style="font-family: "Bookman Old Style","serif"; mso-ansi-language: EN-GB;">"You
shall not make for yourself a carved image, or any likeness of anything that is
in heaven above, or that is in the earth beneath, or that is in the water under
the earth. You shall not bow down to them or serve them." (Exodus 20:4-5a)</span><span lang="EN-GB"><o:p></o:p></span></div>
</div>
<div id="ftn6">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; line-height: 115%;">[6]</span></span><!--[endif]--></span></a> <span lang="EN-GB">Shown in the Pantocrator icon<o:p></o:p></span></div>
</div>
<div id="ftn7">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; line-height: 115%;">[7]</span></span><!--[endif]--></span></a> <span style="font-family: "Bookman Old Style","serif";">It had been suppressed by imperial edict inside
the Byzantine Empire during the reign of Leo III (717–741)</span><span lang="EN-GB"><o:p></o:p></span></div>
</div>
<div id="ftn8">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; line-height: 115%;">[8]</span></span><!--[endif]--></span></a> <span style="font-family: "Bookman Old Style","serif";">Narcisus saw his face on reflected on the water;
he saw his icon.<o:p></o:p></span></div>
</div>
<div id="ftn9">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftnref9" name="_ftn9" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; line-height: 115%;">[9]</span></span><!--[endif]--></span></a> <span style="font-family: "Bookman Old Style","serif";">Kallistos Ware refers to it in his lecture given
at an Orientale Lumine session. See:</span> <span style="color: #f1c232;">
<a href="http://www.oltvweb.com/" target="_blank" title="http://www.oltvweb.com"><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; border: 1pt none windowtext; color: #2793e6; font-family: Arial, sans-serif; padding: 0cm;">http://www.oltvweb.com</span></a></span><span lang="EN-GB"><o:p></o:p></span></div>
</div>
<div id="ftn10">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftnref10" name="_ftn10" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; line-height: 115%;">[10]</span></span><!--[endif]--></span></a> <span style="font-family: "Bookman Old Style","serif";">From Constantinople, he died under torture and
beatings. Finally, Emperor Leo gave orders to lock up the saint in prison, and
to destroy his monastery. Iconoclast bishops were sent to St Stephen in prison,
trying to persuade him of the dogmatic correctness of the Iconoclast position,
but the saint easily refuted all the arguments.<o:p></o:p></span></div>
</div>
<div id="ftn11">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftnref11" name="_ftn11" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; line-height: 115%;">[11]</span></span><!--[endif]--></span></a> Cf. ‘Egyptian Art’ by Cyril Aldred. It <span style="font-family: "Bookman Old Style","serif";">depicts Senemut nursing
princess Nofrure.</span></div>
</div>
<div id="ftn12">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftnref12" name="_ftn12" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; line-height: 115%;">[12]</span></span><!--[endif]--></span></a> In the unfinished tomb of
a priest called Ramose, his brother was the Pharaoh’s chief artist. It shows exact squares in red lines. The
figure was 19squares tall. The feet were 2 ½ squares long. The pupil was 1
square of the centre line. This is why the style remained unchanged for so
long. Egyptian society did not want to change. The society was driven by
stability and order reflecting the cultural values.</div>
</div>
<div id="ftn13">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Administrator/Desktop/SESSION%2001%20Int%20(1).docx#_ftnref13" name="_ftn13" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; line-height: 115%;">[13]</span></span><!--[endif]--></span></a> Egon Sendler, <i>The Icon</i>, p. 9.<span lang="EN-GB"><o:p></o:p></span></div>
</div>
</div>
</div>
Anonymoushttp://www.blogger.com/profile/15536415371721057483noreply@blogger.com0tag:blogger.com,1999:blog-7831747494465516185.post-12220434430740293642013-05-25T07:22:00.002-07:002013-05-25T07:25:54.250-07:00Israel's Motley Mosaics: A discovery of a fantastic ancient floor in the Negev<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div class="MsoNormal">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKdtBu3QsGEtq4c_I_pGJjAoIcKvO8mjikeBb6ez9YHuf2oIzIyrCiz2nArVW-ouKsY_X2pCTJU8OjeGUod56TCIXNFuc8iSC8E7vWlhUDVXjQLsmiHLCwUx2MKDXr9c0DyTBjeBNDy6O7/s1600/Bird.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKdtBu3QsGEtq4c_I_pGJjAoIcKvO8mjikeBb6ez9YHuf2oIzIyrCiz2nArVW-ouKsY_X2pCTJU8OjeGUod56TCIXNFuc8iSC8E7vWlhUDVXjQLsmiHLCwUx2MKDXr9c0DyTBjeBNDy6O7/s400/Bird.jpg" width="400" /></a></div>
<h2 style="text-align: left;">
<span style="font-size: x-large;"><span style="font-family: Garamond, serif;"><b><br /></b></span></span></h2>
<h2>
<span style="font-size: x-large;">Israel's Motley Mosaics</span></h2>
<div style="text-align: left;">
<span style="font-family: Garamond, serif;"><span style="color: #999999;">By Miriam Feinberg Vamosh | May.21, 2013 | 12:36 PM</span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">The
discovery earlier this month of yet another spectacular mosaic floor in the
Negev near Kibbutz Beit Kama is the opportunity to consider a “flying [mosaic]
carpet”- themed itinerary. You can include stops at dozens of these marvellous,
meticulous creations, some almost 16 centuries old.</span><span style="font-family: "Garamond","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">The
mosaics, most of which were installed in ancient churches and synagogues, told
Bible stories, extolled donors, beautified the experience of faith and even
educated people.</span><span style="font-family: "Garamond","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">Most of
these mosaics are brimming with human and animal figures, some fanciful, some
realistic; some from Jewish tradition and some, like the pagan sun god Helios
galloping across the sky, borrowed from other cultures. When the first
synagogue mosaic in the country was discovered (now on display at Beit Alpha
National Park) in the 1920's, scholars were amazed to discover that it was full
of human and animal images – ostensibly prohibited by the Second Commandment.
But scholars now tell us that Jewish thought of the day allowed such depictions
– as long as they were not going to be worshipped, and that they are part of a
tradition stretching across the region in the Byzantine period, which spanned
the fourth–seventh centuries.</span><span style="font-family: "Garamond","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">To catch
several mosaics at once, visit the Inn of the Good Samaritan’s mosaic museum,
where the Israel Nature and Parks Authority has also set up a shelter for
pilgrims to hold mass at the site of a sixth-century church, including, of
course, a mosaic floor. For individual mosaics, below are some of the most
beautiful of the many colorful and intricate mosaics floors open to the public at
sites you can weave into your itinerary:</span><span style="font-family: "Garamond","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span>
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv78ZN7v2Lmy45C1L7bLqthPjq29y8PONykc1_PPS4Eqb3Oe9jt8wOYVONDtQyRB77p_ywc-tv9SGTQE4fFLbily64cS-_UKFhF9w4ThmIWxBrBhrEKI6Roxjtr5LdFzH_gAJtofgTmiVg/s1600/Tzippori+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv78ZN7v2Lmy45C1L7bLqthPjq29y8PONykc1_PPS4Eqb3Oe9jt8wOYVONDtQyRB77p_ywc-tv9SGTQE4fFLbily64cS-_UKFhF9w4ThmIWxBrBhrEKI6Roxjtr5LdFzH_gAJtofgTmiVg/s400/Tzippori+.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"><b>More
Negev Mosaics</b></span><span style="font-family: "Garamond","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">The
church mosaic uncovered at Kibbutz Beit Kama is one of several all over the
Negev, dating back to the time when Christian pilgrims crisscrossed that
region. In the northern Negev, near Kibbutz Nirim (off of road 241 or 242) is
another beautiful “stone carpet.” Restored by the Jewish National Fund, this
sixth-century mosaic on the ancient site of Maon, like many ancient synagogue
and church mosaics, features an inscription mentioning the names of the donors
(some things never change) as well as intricate depictions of agricultural
motifs such as grape-harvesting and brimming baskets of fruit, animal and
birds.</span><span style="font-family: "Garamond","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgjP73gTq0Hsed49uUIgAES2VIjHjQmCq0N3bYl88JoE295SR8qjFPqT4AwcTfDqzx2UPvh6dfULd84e0U946vMPhwcxIKa-r84BNBMCP2Y3WtvWYMqYXdIKrpw775k9jikUoRNS8-6SmH/s1600/Tzippori_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgjP73gTq0Hsed49uUIgAES2VIjHjQmCq0N3bYl88JoE295SR8qjFPqT4AwcTfDqzx2UPvh6dfULd84e0U946vMPhwcxIKa-r84BNBMCP2Y3WtvWYMqYXdIKrpw775k9jikUoRNS8-6SmH/s400/Tzippori_n.jpg" width="400" /></a></div>
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">One of
many stunning mosaics found in Tzippori</span></span></div>
</div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"><br /></span></span>
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">(To visit
the first of these ever discovered, the sixth-century Shellal mosaic, will
require a little more fuel than a trip to the Negev – after its discovery
during World War I it was eventually taken to Canberra, Australia, where it is
on display at the war museum there.)</span><span style="font-family: "Garamond","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span><br />
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"><br /></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkcNh4cIC2R-EzbIX07XQOR_kkoL0AbW9tCkDIyDyL4ls43MUAdia8W7SUH3RZwTRW2ayzlpsTybXFY_MY6zED2vDVLkJdmpIJY3-o5k8r_8W_3gcelRUG6ASd6XVg4xj9cL1wbSGDOlGR/s1600/Tzippori.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkcNh4cIC2R-EzbIX07XQOR_kkoL0AbW9tCkDIyDyL4ls43MUAdia8W7SUH3RZwTRW2ayzlpsTybXFY_MY6zED2vDVLkJdmpIJY3-o5k8r_8W_3gcelRUG6ASd6XVg4xj9cL1wbSGDOlGR/s400/Tzippori.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"><br /></span></span></div>
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"><br /></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"><b>Go North</b></span><span style="font-family: "Garamond","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">Birds are
a common motif in mosaic floors, and in fact, have given their name to the Bird
Mosaic of Caesarea. Some of them, like storks and pelicans, still cross
Israel’s skies. Others are fanciful or humorous, road-runner style. Around them
are wild animals and repeating geometric patterns that would put an Amish
quilting bee to shame. The Bird Mosaic is clearly signposted, on the way to the
aqueduct in Caesarea. It is special in that it is not from a church or a
synagogue, but rather from a room in the villa of a wealthy Byzantine-era
Caesarean.</span><span style="font-family: "Garamond","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">Most
mosaics are famed for the detail of their depictions of animals, plants and
human figures. But the beauty of the mosaics at Mamshit National Park, which
contains two churches, is in their simplicity. A rare depiction in Byzantine
Christian art of a cross on the floor of the eastern churches reveals its
antiquity, since after the 427 CE crosses were prohibited as floor decorations.</span><span style="font-family: "Garamond","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">Other
Christian artistic and religious symbols include fish, and peacocks which can
be found on the mosaic floor of the Byzantine church at Horvat Midras,
southwest of Jerusalem, not far from Beit Guvrin National Park. Ancient
pilgrims apparently marked the tomb of the prophet Zechariah at the site. This
magnificent mosaic was discovered in 2011 – “thanks” to an illegal dig by
antiquities robbers.</span><span style="font-family: "Garamond","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">The
Israel Antiquities Authority subsequently mounted an excavation, unearthing the
floor featuring depictions of animals. Complex geometric patterns create
beautiful frames on this floor.</span><span style="font-family: "Garamond","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">Birds
also appear in the mosaic floor of the ancient synagogue at Ein Gedi near the
Dead Sea, whose dominant colors seem to mimic the surrounding desert scenery –
shades of beige and brown, with green highlights, recalling the oasis home of
the community that built it. Like other synagogues the mosaic reveals that the
community was wealthy enough to pay the designer, the mosaic master and his
extensive team – no small outlay, as you’ll learn at the charming audiovisual
presentation at Beit Alfa National Park’s mosaic.</span><span style="font-family: "Garamond","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">In the
case of Ein Gedi, the wealth came from the cultivation of balsam, used in
cosmetics and medicines. Because producing these products was so lucrative, it
was apparently kept under close wraps. The long inscription in its synagogue
mosaic brings down a curse on anyone who reveals the “secret” – presumably the
coveted, eyes-only balsam recipe.</span><span style="font-family: "Garamond","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">Some
mosaic artisans outdid themselves in human depictions. Not everyone approved of
such depictions, because some of them, like the sun god Helios or the signs of
the Zodiac, were pagan or had been adapted by Christians. In fact, at one point
in the history of the synagogue in Tiberias (Hamat Tverya National Park), the
building was renovated, including a wall right across the beautiful floor,
obviously to hide what some new building committee considered offensive.</span><span style="font-family: "Garamond","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">At Beit
Alfa National Park, discovered back in the 1920s, you’ll find an entire Bible
story depicted in stone– the Binding of Isaac, right down to the altar, Abraham
holding the knife, and a hand emerging from a cloud, with the first words of
the fateful verse: “Lay not thy hand upon the lad” (Gen. 22:12).</span><span style="font-family: "Garamond","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">Here and
elsewhere people are amazed to find they can recognize some of the ancient
Jewish symbols. Flanking the mosaic depiction of the doors of the Holy Ark is
the seven-branched candelabrum, one of Judaism’s most enduring symbols, as well
as a shofar, lulav and etrog. The only symbol most people can’t quite make out
is the incense pan, which, like the candelabrum and the shofar, commemorated
worship at the Jerusalem Temple, long destroyed by the time these mosaics were
created.</span><span style="font-family: "Garamond","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">At
Tzippori National Park, you’ll find the mosaic-as-story reaching new heights.
The Binding of Isaac is there, too, but alongside the sacrificial scene a
remnant of the mother of the “offering” – Sarah – appears. The story continues
up the mosaic to the Zodiac, where, as in many other synagogue mosaics, the
names appear in Hebrew.</span><span style="font-family: "Garamond","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">The four
seasons are also shown, named and bearing their appropriate symbols, such as a
bowl of grapes for summer or water for the rainy winter season. These were
educational devices, scholars tell us, dating from a time when what some
consider “merely” astrology today was a scientific pursuit. In the Tzippori
mosaic, the design includes the symbol of the sun, often associated in Psalms
with redemption, as well as the Temple symbols. The entire story reminded
worshippers that redemption, first promised to Abraham, would shine like the
sun, and the Temple would be rebuilt.</span><span style="font-family: "Garamond","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">At Susya,
in the southern Hebron Hills (reached from road 31 in the northern Negev) lies
another synagogue floor replete with Jewish symbols. Here, too apparently the
synagogue board decided to replace their Zodiac with a more “conservative”
geometric pattern. The Bible story here depicts Daniel in the lion’s den.</span><span style="font-family: "Garamond","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span><br />
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"><br /></span></span>
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"></span></span><br />
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"><br /></span></span>
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">Finally, the relatively simple mosaic at the Herodian Mansions in Jerusalem’s Jewish Quarter may be among the most poignant in Israel. It once decorated a Jewish home during the Second Temple period, when even King Herod observed the Jewish law proscribing human or animal images. What this mosaic with its simple geometric pattern lacks in color and designs compared to others, it makes up in the history it brings alive: on it are the charred remains of a wooden beam that fell from the mansion’s ceiling and burned itself to cinder on the floor, together with the rest of the magnificent Jewish homes of Jerusalem’s Upper City one month after the Temple’s destruction in 70 CE.</span></span><br />
<div>
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"><br /></span></span></div>
<br />
<span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"><br /></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/JOY-SmMJVng?feature=player_embedded' frameborder='0'></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<span style="font-family: Verdana, sans-serif; font-size: small; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"><br /></span>
<span style="font-family: Verdana, sans-serif; font-size: small; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"><br /></span></div>
</div>
Anonymoushttp://www.blogger.com/profile/15536415371721057483noreply@blogger.com2tag:blogger.com,1999:blog-7831747494465516185.post-67116877518615976712013-05-17T03:40:00.000-07:002013-05-17T04:14:43.741-07:00An Application in Turkey to turn the Church of Hagia Sophia from Museum to Mosque<div dir="ltr" style="text-align: left;" trbidi="on">
<div dir="ltr" style="text-align: left;" trbidi="on">
<div dir="ltr" style="text-align: left;" trbidi="on">
<h2 style="text-align: left;">
</h2>
</div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif;"><span style="font-size: large;"> </span></span><br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<span style="font-family: Georgia, Times New Roman, serif;"><span style="font-size: large;"> A parliamentary commission in Turkey is considering an application by the citizens to turn the Hagia Sophia in Istanbul into a mosque. It</span></span><span style="font-family: Georgia, 'Times New Roman', serif; font-size: large;"> may affect the Istanbul's mega-tourist attraction, as well as other Turkish historical sites. As we know, the Church of Hagia Sophia in the small town of Trabzon has served </span><span style="font-family: Georgia, 'Times New Roman', serif; font-size: large;">for the past 50 years </span><span style="font-family: Georgia, 'Times New Roman', serif; font-size: large;">as a museum for 13-century art and artefacts under the direction of Turkey’s Ministry of Culture and Tourism. </span><br />
<span style="font-family: Georgia, 'Times New Roman', serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8BU0EuwM95VSVQtNjf4jlxULoSCHmoUu1yjRNrCJJjGtZKpG90WpsCjX4SLanapPHqske-1Vppbo8LKhpF2_TI5_DKICYqyz4vhJ-jNFyVuRQvGvsYJ84u4FgR_9mhGmaXFbwqiB4OdGO/s1600/Tourist+Hagia+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8BU0EuwM95VSVQtNjf4jlxULoSCHmoUu1yjRNrCJJjGtZKpG90WpsCjX4SLanapPHqske-1Vppbo8LKhpF2_TI5_DKICYqyz4vhJ-jNFyVuRQvGvsYJ84u4FgR_9mhGmaXFbwqiB4OdGO/s400/Tourist+Hagia+.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<br />
<br /></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The claim in the court is that at the moment Hagia Sophia is an "illegal occupation", and that the building was "originally covenanted" as a mosque. The request to change the status of Hagia Sophia is supported by application given to 401 people, in which more than 97 percent of interviewees requested the transformation of the ancient building into a mosque and afterwards for it to be reopened for Muslim worship. The application has been taken under consideration by the Parliament’s Petition Commission.</span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">This is not the first time that a museum comes back to be a place of prayer. In 2010, Christians secured the right to hold religious services for pilgrims in St. Paul's Church in Tarsus, nearly 70 years after the church was re-purposed as a museum.This case can be used for those who support the change in order to proceed with their proposal.</span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfzXQZ7YMA52C1oyvdmUaB3IpqAOnE3DC7bpG4Jn7O3eAdRnoXadDGK-q-P3MsbN7aowkhFxwR6C5sCF0i34YOVkdjzewJ7yBYsFb3Xq92fQM9lX8KBBJrvdVySmvbwmUHSqLaaBsQ7loV/s1600/Interior_of_Hagia_Sophia.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfzXQZ7YMA52C1oyvdmUaB3IpqAOnE3DC7bpG4Jn7O3eAdRnoXadDGK-q-P3MsbN7aowkhFxwR6C5sCF0i34YOVkdjzewJ7yBYsFb3Xq92fQM9lX8KBBJrvdVySmvbwmUHSqLaaBsQ7loV/s400/Interior_of_Hagia_Sophia.jpg" width="400" /></a></div>
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">There is no word yet whether the plan to convert the museum into a mosque will involve preserving or masking the Christian art that adorns the walls. From the date of its dedication in 360 until 1453, </span><span style="font-family: Georgia, 'Times New Roman', serif; font-size: large;">Hagia Sophia Museum</span><span style="font-family: Georgia, 'Times New Roman', serif; font-size: large;"> served as an Eastern Orthodox cathedral and seat of the Patriarchate of Constantinople, </span><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">except between 1204 and 1261, when it was converted to a Roman Catholic cathedral under the Latin Empire.</span><span style="font-family: Georgia, 'Times New Roman', serif; font-size: large;"> Following the city’s conquest by the Ottoman Empire, the building turned into a mosque in 1453 and remained so until 1931, when it was closed to the public. For four years later, it was reopened by the republican authorities in 1935 as a museum.</span><br />
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrZ_6-iA_UljMQtdfEFRC15yEVDA-Dr8LfYnhrJLQgCViqTvSj-tS0QCYLwiVTdFskss97vEeFP-KvG2KFYBzhG00zM4gky6pK3TGwtYHndKWhVj4hEs78FtpkUEOKmJqxMxrH0kbQEGJp/s1600/hagia_sophia_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrZ_6-iA_UljMQtdfEFRC15yEVDA-Dr8LfYnhrJLQgCViqTvSj-tS0QCYLwiVTdFskss97vEeFP-KvG2KFYBzhG00zM4gky6pK3TGwtYHndKWhVj4hEs78FtpkUEOKmJqxMxrH0kbQEGJp/s400/hagia_sophia_1.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
</div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The whole situation could be bad news for Istanbul's famous Hagia Sophia. The Greek-Orthodox Patriarchate supports the continued use of the historical Hagia Sophia in Trabzon as a museum. The argument is that there is not an urgent need of a mosque, a</span><span style="font-family: Georgia, 'Times New Roman', serif; font-size: large;">l</span><span style="font-family: Georgia, 'Times New Roman', serif; font-size: large;">so because there is no a proper community of faithful there. They suggest that the best way is to keep the church as a museum.</span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">However, if Hagia Sophia opens up as a place for prayers, it also may be possible for Christians to hold ceremonies there. <a href="http://www.hurriyetdailynews.com/patriarchate-against-hagia-sophia-opening.aspx?pageID=238&nID=40643&NewsCatID=393">DailyNews </a>comments on it in an interview with <span style="text-align: justify;">Dositheos Anagnostopulos, the Patriarchate’s press officer. He told them when he was asked </span> if the Patriarchate would demand to hold ceremonies in Hagia Sophia as well. To it, Anagnostopulos said that if the ministry permitted it and the Orthodox community desired it, this would be their duty, not only a desire.</span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<br />
<br />
<br />
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<h4 style="text-align: left;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><b>HAGIA SOPHIA, ISTAMBUL</b></span></h4>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif;"><span style="font-size: large;"></span></span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif;"><span style="font-size: large;">Hagia Sophia is also known throughout the world as Ἁγία Σοφία, Holy Wisdom, Sancta Sophia or Sancta Sapientia. It used to be the Orthodox patriarchal basilica, later a mosque, and now a museum in Istanbul, Turkey. </span></span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, 'Times New Roman', serif; font-size: large;"><br /></span></div>
<span style="font-family: Georgia, Times New Roman, serif;"></span><br />
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif;"><span style="font-size: large;">The Church was dedicated to the Logos, the second person of the Holy Trinity. Its dedication feast taking place on December 25, the anniversary of the Incarnation of the Logos in Christ, the Nativity. Although it is sometimes referred to as Sancta Sophia (as though it were named after Saint Sophia), sophia is the phonetic spelling in Latin of the Greek word for wisdom - the full name in Greek being Ναός τῆς Ἁγίας τοῦ Θεοῦ Σοφίας, "Church of the Holy Wisdom of God".</span></span></div>
<span style="font-family: Georgia, Times New Roman, serif;">
<span style="font-size: large;"><div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
The basilica is famous in particular for its massive dome and it is considered the epitome of Byzantine architecture. It is said to have "changed the history of architecture." It was the largest cathedral in the world for nearly a thousand years, until Seville Cathedral was completed in 1520. The current building was originally constructed as a church between 532 and 537 on the orders of the Byzantine Emperor Justinian and was the third Church of the Holy Wisdom to occupy the site. It was designed by Isidore of Miletus, a physicist, and Anthemius of Tralles, a mathematician.</div>
</span></span><br />
<div style="text-align: justify;">
<br /></div>
<br />
<br />
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="400" mozallowfullscreen="" src="http://player.vimeo.com/video/18816251" webkitallowfullscreen="" width="500"></iframe> </div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br /></div>
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="400" mozallowfullscreen="" src="http://player.vimeo.com/video/18817229" webkitallowfullscreen="" width="500"></iframe> </div>
<a href="http://vimeo.com/18817229">CHORA MUSEUM ISTANBUL</a> from <a href="http://vimeo.com/user5498720">istanbulcityguide.com</a> on <a href="http://vimeo.com/">Vimeo</a>.</div>
Anonymoushttp://www.blogger.com/profile/15536415371721057483noreply@blogger.com0tag:blogger.com,1999:blog-7831747494465516185.post-68547354276896948412013-05-07T15:39:00.001-07:002013-05-07T16:03:10.376-07:00Iconoclasm in the Byzantine Empire<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><b><br /></b></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_sOo209TArG2nm6nHLPn5l-0l2PsCwGQYVQLeOTwLDAFcNZIB0o1AOFuq7kPddJZz-Q9XX3Ng5yQqJAAbXNp775vhNKngfGNl6jo4sBYiQAaMI2vBD1egJq9sm1fsvztQHEjbbEF_BLrv/s1600/Iconoclasm_Chludov_detail_9th_century.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_sOo209TArG2nm6nHLPn5l-0l2PsCwGQYVQLeOTwLDAFcNZIB0o1AOFuq7kPddJZz-Q9XX3Ng5yQqJAAbXNp775vhNKngfGNl6jo4sBYiQAaMI2vBD1egJq9sm1fsvztQHEjbbEF_BLrv/s320/Iconoclasm_Chludov_detail_9th_century.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
Byzantine Iconoclasm, Chludov Psalter, 9th centuryKhludov Psalter (detail). The image represents the Iconoclast theologian, John the Grammarian, and an iconoclast bishop destroying an image of Christ. (State Historical Museum, Moscow)</div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><b><br /></b></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Iconoclasm is a phenomenon which has appeared several times through recorded history. It is characterized as being the intentional demolition of the religious icons, effigies, symbols or monuments of a society’s culture. This phenomenon appeared in the Byzantine Empire during the 8th and 9th centuries CE and caused great harm and civil strife to this once great empire. Since Constantine the Great’s Edict of Mediolanum, icons have been used in the Roman Empire to represent Jesus Christ or other important figures of Christianity. These icons were often presented on mosaics, which the Romans were particularly fond of. </span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><b>Depiction of an iconoclast</b></span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The causes of iconoclasm in the Byzantine Empire are numerous and complex. The first Iconoclastic period of the Byzantine Empire, which took place between the years 730 and 787 CE was preceded by a notable increase in the use of icons to represent religious figures. One particular event that may have contributed to the emergence of the phenomenon was the fabrication of coins by the emperor Justinian II in 695 which were marked by an image of Jesus Christ. This was apparently not well received by many communities living in the Roman Empire and may have contributed to the rising animosity against icons. Some historians like Arnold J. Toynbee have put forward the theory that the extensive Muslim conquests of lands bordering the Byzantine Empire influenced the Byzantine authorities to embrace the Muslim’s destructive policy on idolatry. </span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">During a period of marked iconoclasm, there are usually two positions on the subject. On one hand, there are the iconoclasts who are in favour of the iconoclasm and the iconodules, who are opposing it. The iconoclasts often viewed the icons as pagan idolatries and therefore wanted to remove that contradictory (to them) aspect of the Christian religion. They also believed that the icons might have been of a Nestorian nature because according to their view, these works of art could only depict one of the two natures of Jesus, either the human one or the divine one. If the icons portrayed the human side of Jesus, they were objects of the propagation of Nestorian Christianity as opposed to Nicene Christianity. Also, one of their main arguments was that the commandment “You shall not make for yourself an idol” forbade religious icons. </span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">During the two outbreaks of iconoclasm that affected the Byzantine Empire (730-787 & 814-842) the iconoclasts, who were leaded at first by the emperor Leo III the Isaurian, wanted the abolition and the destruction of icons for various reasons. The reason that has been often attributed to the emperor’s will of abolishing religious icons was that he believed that the very popular use of them caused military defeats at the hand of the Muslim forces and the terrible volcanic eruption of the island of Thera, which he attributed to God’s displease. Leo III’s successor, his son Constantine V, continued his father’s work and mobilized the Council of Hieria in 754, which discussed iconoclasm and advocated it. Constantine V’s successor was Leo IV who is most notoriously known because of his wife Irene’s secretive support of the iconodules during his reign. He took some measures against the icons but after his death, they were undone by his wife. The second period of iconoclasm was instigated by the emperor Leo V the Armenian who might have chosen this path to justify that the military disaster that took place before and under his reign were caused by the divine condemnation of icons. Leo’s successor was Michael II who validated the decisions that were made at the major council of 754. </span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">On the other hand, the iconodules claimed that Christian religious icons were not idols for the reason that religious depictions of a different religion to Christianity were idols and Christian images were legitimate icons. The reasoning behind this argument was that icons, which were Christian images, illustrated genuine persons while idols depicted unreal identities since they were representing other gods, which were automatically unreal. Furthermore, for iconodules, icons were legitimate because they were portraying Jesus’ flesh. They confirmed that by affirming that the reincarnation of Jesus Christ, which proved that he was the incarnation of God, confirmed that the icons represented Jesus Christ, the second figure of Trinity and not God, the first figure of Trinity. Iconodules also claimed that the Emperor Leo III the Isaurian had no right to decide these canonical matters because that was the church’s role. Finally, one of their most considerable assertions was that Acheiropoieta, icons which had come into existence by the hand of God, made icons legitimate. </span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The iconodules were blessed by people of primary importance during both periods of iconoclasm. Leo III’s decisions were opposed by the Patriarch of Constantinople Germanus I and also by Pope Gregory III who proscribed them. Later on, the Patriarch Nikephoros of Constantinople would try to reverse the balance but with little effect. The most decisive iconodule of this first crisis was Irene, the wife of Leo IV and regent after his death. She had to hide her affinities toward icons during her husband’s reign and when she held the regency, she managed to end the First period of iconoclasm. The Second period of Iconoclasm was ended in a similar fashion by Theodora, the widow of emperor Theophilus and regent of the Roman Empire. She restored the icons in 843.</span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The two periods of iconoclasm greatly affected the Byzantine or Roman Empire’s relations with Rome. The tensions erupted at first during Leo III’s reign where his measures were directly defied by Pope Gegrory III. Leo III responded by occupying lands that were under the Pope’s authority (Calabria and parts of Sicily). The tensions that followed between Constantinople and Rome fuelled the popes to valorise the Frankish kingdom which was renamed “Empire of the Romans” under Charlemagne. The hostility and rivalry between Rome and Constantinople culminated in the Great Schism in 1054, when Pope Leo IX and Patriarch Michael I Cerularius of Constantinople excommunicated each other. The East-West Schism of 1054 had disastrous consequences on the Eastern Roman Empire as it permanently divided the Christian world between the Catholic and Orthodox churches. It also led partially to the Sack of Constantinople of 1204 (under a unified Christian world, this would probably not have happened) and to the ultimate fall of Constantinople at the hands of the Ottoman Turks, in 1453.</span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Edited by <b>Labienus</b>: <a href="http://historum.com/medieval-byzantine-history/19165-iconoclasm-byzantine-empire.html">here</a></span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
<h4 style="text-align: justify;">
<i><span style="font-size: large;">An interesting series of videos on the Byzantine Empire, including stories on images before and after the Iconoclasm.</span></i></h4>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/Az2Fr6BBAyU?feature=player_embedded' frameborder='0'></iframe></div>
<br /></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: justify;">
<div style="text-align: center;">
<br /></div>
</div>
<div style="text-align: justify;">
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/A1pUi0QtBRs?feature=player_embedded' frameborder='0'></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
<object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://img.youtube.com/vi/L_P1PCc9EvM/0.jpg" height="266" width="320"><param name="movie" value="http://youtube.googleapis.com/v/L_P1PCc9EvM&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="http://youtube.googleapis.com/v/L_P1PCc9EvM&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/03MavxDLlKY?feature=player_embedded' frameborder='0'></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/kPj4yTWg884?feature=player_embedded' frameborder='0'></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br /></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<i><span style="font-size: large;">Here below you will find an interesting talk on icons given </span></i><i><span style="font-size: large;">by </span></i><i><span style="font-size: large;"> Bishop Callixtos Ware</span></i></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/67x3GiPDfvk?feature=player_embedded' frameborder='0'></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<span id="goog_819285470"></span><span id="goog_819285471"></span><br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
</div>
Anonymoushttp://www.blogger.com/profile/15536415371721057483noreply@blogger.com0tag:blogger.com,1999:blog-7831747494465516185.post-39515671275993314672013-05-03T04:31:00.007-07:002013-05-03T04:31:52.848-07:00The Coptic Icon Between Past and Present: Conversing With Stéphane René<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="text-align: justify;">
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #f9cb9c;"><i><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">It presents an interview given by the </span></i><i><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">iconographer</span></i><i><span style="font-family: Georgia, Times New Roman, serif; font-size: large;"> Stéphane René</span></i><i><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">. </span><span style="font-family: Georgia, 'Times New Roman', serif; font-size: large;">He studied under the school’s founder, Prof. Isaac Fanous, at the Institute of Coptic Studies, Cairo. Now, he </span><span style="font-family: Georgia, 'Times New Roman', serif; font-size: large;">has become a leading exponent of the Neo-Coptic School. </span></i></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #f9cb9c;"><i><span style="font-family: Georgia, 'Times New Roman', serif; font-size: large;"><br /></span></i></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #f9cb9c; font-family: Georgia, Times New Roman, serif; font-size: large;"><i>The French iconographer gives us some important keys to penetrate into the coptic iconographic art with its techniques, its history but also its profound spirituality. </i></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #f9cb9c; font-family: Georgia, Times New Roman, serif; font-size: large;"><i><br /></i></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #f9cb9c; font-family: Georgia, Times New Roman, serif; font-size: large;"><i>Finally, you will find a video on Egyptian art, a main source of Christian iconography. Its contribution lies on measurements, proportions and a deep spiritual symbolism.</i></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">How did you become an
iconographer?</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">My interest in iconography
started with my conversion to Orthodoxy some 30 years ago, but I had always
been interested in art as far as I can remember. I first saw the icons of
Isaac Fanous in St Mark’s Coptic Orthodox Church, London, in 1982. They
resonated deeply with me; their timeless beauty and exquisite simplicity made
them very powerful, even beyond words. One Sunday in June of the same
year, at the suggestion of my dear departed priest Abouna Antonios Farag, I was
ordained a deacon by H.G. Bishop Misael. In the space of a few weeks we
found ourselves quite literally ‘catapulted’ to Egypt, on our first trip of
many. We stayed at Fr Antonios’ apartment on the ever busy Shara Ramses,
just a short walk away from Cairo’s St Mark’s Coptic Cathedral complex and the
Institute of Coptic Studies, and, unbeknown to us at the time, merely 3 doors
away from Prof. Isaac Fanous. While focusing my attention on the icons
during the liturgy in the London church, I remember thinking that if I ever had
the opportunity to visit Egypt I would make it a special point to meet the man
who created these beautiful works of faith and art.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgcnMjLijk87rAI_LP8c9xkVQzdZGIMKj7uRUsoh1PSvnANI-rNPbgQjv9jXQzIOuZjPzH5CvfFnF-z9jlJ6iTSJSoolv3e0B3ye1RhybvzJMoKs6BzCydUvxh1VOCGqeuPa7ZOogGpLGy/s1600/rene_fanous.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgcnMjLijk87rAI_LP8c9xkVQzdZGIMKj7uRUsoh1PSvnANI-rNPbgQjv9jXQzIOuZjPzH5CvfFnF-z9jlJ6iTSJSoolv3e0B3ye1RhybvzJMoKs6BzCydUvxh1VOCGqeuPa7ZOogGpLGy/s400/rene_fanous.png" width="390" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: Georgia, Times New Roman, serif;"><i>Stéphane René and Isaac Fanous</i></span></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">I have read on your website
that you have been a disciple of Isaac Fanous. Can you tell us more about that?</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">I am a disciple of Isaac Fanous
and will always be one. I first met Dr Isaac when I visited the art
studio at the Institute of Coptic Studies (ICS), Cairo, where he had worked
since the mid 50′s. The studio was in effect ground zero, where the
revival of Coptic iconography happened; there was a certain sense of
historicity about the place. There was a row of icons on display that he
had just completed for an iconostasis; the warm glow of the golden flesh tones
and the brilliant, yet soft light suffusing the compositions were at once
comforting and awe inspiring. I can say that the day of my first meeting
with Dr Isaac is fixed in my mind as the moment I heard the proverbial
‘call’. He invited us both, my wife Monica and I, to study with him for
one year at the Institute. While I would study the practical side of icon
painting with him in studio, Monica, a journalist/photographer, would record
and catalogue Coptic heritage. I explained that living in London, it would be
difficult… and we would try to return soon etc… In fact we spent 8 years going
back and forth for up to 6 months at a time. I was in studio most of the
time but also travelling around the Coptic sites and monasteries with Monica.
In 1986, under the supervision of Dr Isaac, she started a project cataloguing
the art of Abu Sifain’s Church in Old Cairo, a huge undertaking but well
worthwhile.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">In 1987 I started a PhD project
at the Royal College of Art (RCA), London. This was the first time any
practical Christian art, let alone Coptic, had been the subject of a PhD at
this world renown British institution. I was part of the newly formed
Visual Islamic Art Department, which was dedicated to the arts of the Islamic
world, of which Coptic Art also happens to be a part. A few months after
my arrival, the Dept was renamed Visual Islamic and Traditional Art or VITA,
taking into account my presence there. I was the only student looking at
Christian art, as all the others were studying Islamic art. Although I
spent most of my research time in Egypt, it was a wonderful experience that I
will never forget. The RCA flew Dr Isaac over to London to attend my viva
voce, as the only person in the world qualified to examine my work. This
was a time of great rejoicing for us both. (see pic) This recognition of his
work by such a prestigious institution meant a lot to him as he believed that
iconography should be taught in an academic setting and approached with faith
and reverence but also with a scientific mind. The study of sacred
iconography is a multi faceted discipline that brings together many threads of
study; painting, hagiography, architecture and geometry, chemistry, theology,
symbolism, history etc…</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">It was during this most important
and precious time in the studio with the master that I became acquainted with
the techniques and principles involved in the contemporary style of Coptic
iconography.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Why is Isaac Fanous
important in the history of Coptic iconography in your opinion?</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Isaac Fanous is undoubtedly the
greatest Coptic artist of the 20thc. His achievement,in terms of his artistic
legacy, is beyond comparison. Only the heyday of Byzantium or the treasures of
ancient Egyptian art could come close. His establishment of a new canon
is unique in the Orthodox Church (Eastern or Oriental). To call him a
mystic of the highest order would not be too far fetched, even though he would
certainly joke it off, saying he is only a simple man living a simple life:
‘ana maskeen awi’ he would say with great humility. But if the
description of a mystic is one whose spiritual eyes have been opened, then he
was indeed one, or at least a true visionary. Even the masterpieces of Coptic
art from Bawit and Saqqara or the beautiful frescos of St Anthony’s monastery
do not quite compare with the impeccable order and superb harmony of form and
colour in Fanous’ work, mixed with a mature and potent symbolic system.
So to answer your question: yes, Fanous is central to the history and
development of Coptic iconography and is a crucial bridge between the past and
the present. He, so to speak, gave Coptic iconography a second birth.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-lpVs-JPYFX4FiMz5O3ufT-gF0fwtP0FyOiHu-jvmghECbo69jEM1PU10jH7Ld2t6e09IHRmEsCgMK4wcfBwVIZROMMLc9Vx2I79KQJmX-o-EFY4U5bySSHJRgWv0One1VElUmSPUDAUj/s1600/Neo+Coptic+icon-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-lpVs-JPYFX4FiMz5O3ufT-gF0fwtP0FyOiHu-jvmghECbo69jEM1PU10jH7Ld2t6e09IHRmEsCgMK4wcfBwVIZROMMLc9Vx2I79KQJmX-o-EFY4U5bySSHJRgWv0One1VElUmSPUDAUj/s400/Neo+Coptic+icon-1.jpg" width="400" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
</div>
<div style="text-align: center;">
<i style="font-family: Georgia, 'Times New Roman', serif;">The icon of the Theotokos
"Stella Maris", written by Stéphane René and blessed by H.H.
Benedetto XVI, May 2006</i></div>
<span style="font-family: Georgia, Times New Roman, serif;"><i><br /></i></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif;"><i><br /></i></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Until Fanous, icon making had
been mainly artisanal in nature and very often intuitive rather than formally
studied under a master or school. There are consequently many styles of
iconography in Egypt, according to the different regions and periods. The
style of iconography found in the Delta region for instance, is very different
from that found at Akhmim or further south. The Neo-Coptic style fathered
by I. Fanous is probably the first attempt at a ‘unified’ Coptic style, valid
from Alexandria to Aswan as well as the worldwide Coptic Diaspora.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">When I started to study with Dr
Isaac in 1982-83, there was scant interest in Coptic iconography among the
Copts themselves. One of the few serious regulars at the ICS studio was an
English lady living in Cairo with her journalist husband. She eventually did a
PhD under Fanous at the ICS during the 80’s. For whatever reasons,
cultural or otherwise, art is not encouraged in the Coptic Church; it is mostly
seen as a hobby, or something one does in one’s own spare time, outside a
‘proper job’. This kind of attitude does not foster artistic
creativity. It is no wonder that iconographers in Egypt often come from
other countries or other Christian traditions. On the whole, the
transition between religious painting and sacred iconography has been (and
still is) quite difficult and painful for the Coptic people. The Roman
Catholic pious images introduced into Egypt by the foreign missionaries in the
mid 1800’s, have been the dominant imagery for generations of Copts and are
still very much part of the collective psyche. It has been a slow and uphill
struggle to promote a change towards the more authentic sacred art form of
iconography championed by Fanous: “We fight against ignorance” he’d
say.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1TUDPOoPHO87JM8UxoQMJu8tRwcsVTVczkPfvJJVHn6UUGhyphenhyphenCwdRQyvLN5cQLpY3V8kge8F76bxWyK8qYZJFRhhAOHmDUKDpotR1d0Liw__8kisScedWUEVdOY0LkaGdRb7PPHgzhCEku/s1600/Transfiguration+coptic+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1TUDPOoPHO87JM8UxoQMJu8tRwcsVTVczkPfvJJVHn6UUGhyphenhyphenCwdRQyvLN5cQLpY3V8kge8F76bxWyK8qYZJFRhhAOHmDUKDpotR1d0Liw__8kisScedWUEVdOY0LkaGdRb7PPHgzhCEku/s640/Transfiguration+coptic+.jpg" width="352" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: justify;">
<b><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Russian and Byzantine iconographers see iconography as a “whole” which comprehends not only the “technical” part but also the spiritual one. So they pray and fast while painting. Is it the same for you?</span></b></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The whole process of writing an icon is a prayer, not a prayer of words but a prayer in action. Of course one is free to say prayers of words while working or even sing psalms, but there are no strict dictates or rules in the Coptic tradition that I know of. It is left to individuals to do what works best for them. The same with fasting: it is up to the individual to decide on these things. Sometimes an iconographer will spend 15-20 hours per day up scaffoldings, in often very awkward positions; it represents a great output of energy and if in addition one was obliged to deny his/her body necessary nutriment it would make things very difficult indeed. However, if an iconographer is part of a monastic community, the monastic rules governing fasting and prayer will also apply to his/her work as an iconographer.</span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<b><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Where do discipline and tradition end and where does the artist’s inspiration begin? In other words: how do you find a balance between personal inspiration and the respect of the tradition?</span></b></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">A good icon, in my opinion, should have none of myself and all of myself in it. I know this sounds like a contradictory statement, but it is not. My focus is on following the master, not on gratifying my own ego. Personally I don’t care about having my own recognizable style. This work is not about me, or my style. It’s about something much bigger than that. These ideas belong to modern secular art that is ruled by egotistic notions. Conversely, I must put all myself, my attention and intention, in my work and there is no room for approximation or slackness. Many ‘would be’ iconographers are too concerned with developing their own style and signing their work with a large and incongruous signature, rather than try to follow the master and the canons he teaches. They have made themselves masters and create so called icons that are full of themselves, the very antithesis of what an icon should be. With the advent of the Internet there has been a flurry of such ‘iconographers’ aligning themselves to the Neo-Coptic school. The majority of these sites are nothing more than a virtual bazaar, equipped with shopping carts and the all important credit card logos – a Khan-El-Khalili online as it were.</span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<b><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">What do you think about the statement that Coptic Christianity lacks – mainly, for historical reasons, for it separated from the Orthodox ecumene – a “theology of icon” differently from the russo-bizantine orthodoxy which has a complex theological system of icon?</span></b></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Firstly, it is not quite right to say that the Coptic Church separated from the Orthodox family: it was thrown out of it for political reasons. Also, it ‘lacks’ nothing: it could be argued that the genesis of Christian iconography first happened in Egypt and then spread and developed throughout the Roman Empire. In my opinion, there may have been a case of more or less simultaneous polygenesis, with Christian ideas fertilizing local cultures resulting in the creation of a new art that reflected the new faith. The development of Coptic art is intimately linked to the history of Egypt. Coptic art has as much theological basis as Russo-Byzantine art but has been the subject of much less research and also to some extent, the victim of a European bias that considers it less relevant because it is primarily African and therefore non-European. It also has a very elaborate symbol system but mostly unknown for the same reason that there is no research published on the subject.</span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<b><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">What makes an icon Coptic? What are the main similarities and the main differences between the Coptic icon and icons of other Christian traditions?</span></b></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">This is an interesting but difficult question to answer. In general, the main difference between Christian artistic traditions is one of stylistics, i.e. form. The content is broadly identical since it is always based on biblical text. Hence the iconography of the main feasts, the life of Christ, etc… are identical. Some of the hagiography will differ slightly according to the local culture and saints’ names may differ, but that is as far as it goes. So as already mentioned, we are left with difference in form or style mainly. The Greco-Byzantine style for instance, was first and foremost an imperial art, reflecting the glory of the emperor and his court. Balkan iconography came straight out of Byzantium and so did Russian iconography much later and these traditions all have Byzantium as a common denominator. Coptic art on the other hand came from the grass-roots so to speak, often the result of local effort and artistic expression interacting with and stimulated by faith. There was also a noted hatred of all things Byzantine by the native Egyptians, Christian or not, who considered themselves oppressed by their Byzantine overlord. Early Coptic iconography developed in rural areas, especially monasteries, such as Bawit or the Kellias, and many others up and down the Nile valley. To the question ‘what makes an icon Coptic?’ there is no straightforward answer when discussing ancient icons. It is a different matter when discussing Neo-Coptic iconography: what makes an icon Neo-Coptic is the canon of proportion used in its creation. If no canon is used, the icon is nothing but the expression of the individual’s whims and subjective personal ideas.</span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<b><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">If you could choose two Coptic icons (one of the pre-neo-period and one of the neo-period) is your favourite icon and why?</span></b></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">I have no favourite icon. All icons are my favourite icons. If you mean which iconographic subject is my favourite, I would say Christ Pantocrator and the Transfiguration, because the essence of the Christian message is fully contained within these two themes, what ultimately form one and the same theme.</span></div>
<div class="separator" style="clear: both; text-align: justify;">
<b><span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></b></div>
<div class="separator" style="clear: both; text-align: justify;">
<b><span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></b></div>
<div class="separator" style="clear: both; text-align: justify;">
<b><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">How many hours do you work per day? Do you work alone or with a team? Did you paint any church? Did you do any exhibition of your icons?</span></b></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">I spend an average 6-8 hours a day in studio. Constant practice is one of the requisites for becoming an iconographer, with emphasis on the word ‘becoming’. One is perpetually in a state of ‘becoming’, which does not allow for complacency. Each new icon I write is like the first one and I consider myself a student even after so many years of practice. Dr Isaac always said: ”if you are not solving problems you are not really working, you are just doodling”.</span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">I work alone, not by choice, but because it is very difficult to find people interested enough in England, and because this is not the kind of work you just pay somebody to do. Of late, I sometimes ask a student or two to come and help with panel preparation and laying the proplasmos (dark tones). I have done some monumental work, especially in California, Germany and Austria. Each time I have worked alone on scaffolding from beginning to end.</span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">I was the first of Dr Isaac’s students to mount exhibitions of contemporary icons. When the idea was first put to me back in the 80’s, I was very sceptical about it, thinking that icons should be in churches and not commercial galleries like some kind of commodity. I also did not want people to perceive icons as just another artistic individual style on the same level as modern art, art as decoration or just art for art sake. Eventually I changed my mind and held my first exhibition in May 1989 at a famous gallery in Kingston Jamaica. I thought that if I could not take the people to the church, the least I could do was take the church to the people. It worked and the exhibition was actually sold out two days before the opening. Since then I have had a few in Los Angeles and London mainly, but I can’t say I enjoy them. I much prefer to work on commission, as this way I know that a church or an individual is actually waiting for the work and where the icon is going.</span></div>
<div class="separator" style="clear: both; text-align: justify;">
<b><span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></b></div>
<div class="separator" style="clear: both; text-align: justify;">
<b><span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></b></div>
<div class="separator" style="clear: both; text-align: justify;">
<b><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Who are you favourite painters (not only icon painters) and why?</span></b></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">I don’t really have a favourite painter as such. I like some modern painters like Picasso, Chagal, Braque, Malovitch, Monet, etc… But I also like Indian and Islamic miniature painting for instance as well as the mummy portraits. My personal taste in art is very eclectic and spans many traditions and styles. I am on the other hand unmoved by the art of the Renaissance, which I find over ‘fleshy’ and rather spiritless.</span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<b><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Once a lady told me: I don’t like Coptic icons because they show pagan symbols like the “ankh”. As an iconographer, do you have anything to say to this lady?</span></b></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">I would say to this lady that she needs to open her mind a little and understand that Christianity did not suddenly spring out of a vacuum. It is a question of embracing the past rather than rejecting it. All the so called pagan symbolism in the Coptic icon was baptised into Christianity, like the ankh, certainly, but also like the enthroned Virgin suckling the Holy Child or the Mounted Horseman transfixing the dragon of darkness. All these themes can be called ‘pagan’ but they also happened to be central Christian themes. It is no wonder that Christianity was accepted so readily by the Egyptians as they found in it all the major themes of their ancestral religion renewed and re-interpreted in the light of the new faith. Much ‘pagan’ symbolism is likewise thinly camouflaged in Western Christian art, like Christ who is often depicted enthroned in the middle of a Vesica Pisces, or the Virgin standing on a crescent moon. These symbols are part of our collective unconscious and part of a cosmology that predates Christianity by thousands of years.</span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<b><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Why do you think there are still few people who fully dedicate themselves to iconography in the Coptic Church?</span></b></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">I think there are many reasons. I mentioned one earlier, which is that art is generally considered a hobby or a pass time, or something to keep children amused. Art is not seen as a viable career like the medical profession or accountancy for instance, or even just business. These are deeply seated cultural attitudes, perhaps tainted with the backlash of colonialism, that will take time to shift. As also mentioned above, the new breed of internet iconographers are mainly interested in promoting themselves as the latest Coptic icon master. More importantly, since Fanous has gone, there is no more school or central place where one can go to study. The question remains, what is to become of Coptic Iconography in a post-Fanous Coptic church? This is the question we should really ask.</span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<i><span style="font-family: Georgia, Times New Roman, serif;">Posted by <b><a href="http://www.natidallospirito.com/author/natodallospirito/" title="Articoli scritti da: natodallospirito">natodallospirito</a></b></span></i></div>
<div class="separator" style="clear: both; text-align: justify;">
<a href="http://www.natidallospirito.com/category/spirit/" style="font-family: Georgia, 'Times New Roman', serif;" title="Visualizza tutti gli articoli in SPIRITUALITA"><b>SPIRITUALITA</b></a><span style="font-family: Georgia, 'Times New Roman', serif;"> — 18 febbraio 2010 18:41</span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, 'Times New Roman', serif;">For more information visit <a href="http://www.natidallospirito.com/2010/02/18/the-coptic-icon-between-past-and-present-conversing-with-stephane-rene-1st-part/">here</a></span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/rOUjDIX37o4?feature=player_embedded' frameborder='0'></iframe></div>
<br /></div>
Anonymoushttp://www.blogger.com/profile/15536415371721057483noreply@blogger.com0tag:blogger.com,1999:blog-7831747494465516185.post-38232956386955387932013-04-26T04:22:00.001-07:002013-04-26T09:19:43.288-07:00The Shroud of Turin <div dir="ltr" style="text-align: left;" trbidi="on">
<div dir="ltr" style="text-align: left;" trbidi="on">
<h1 class="entry-title heading-large" style="margin: 10px 0px; text-align: justify; text-rendering: optimizelegibility; word-wrap: break-word;">
<div style="font-size: medium; font-weight: normal;">
<span style="color: #d9ead3; font-family: Georgia, Times New Roman, serif; font-size: large;"><i><br /></i></span></div>
<div>
<span style="color: #d9ead3; font-family: Georgia, Times New Roman, serif; font-size: large;"><i></i></span><br />
<div style="text-align: justify;">
<span style="color: #d9ead3; font-family: Georgia, Times New Roman, serif; font-size: large;"><i><span style="font-weight: normal;">The Shroud of Turin is the most analysed artefact in the world, yet remains the world's greatest unsolved mystery. Could it be the actual burial cloth that wrapped the historical Jesus or is it nothing more than a medieval hoax? For centuries, scientists and historians, artists and believers have pored over the mysterious Shroud of Turin. </span></i></span></div>
<div style="text-align: justify;">
<span style="color: #d9ead3; font-family: Georgia, Times New Roman, serif; font-size: large;"><i><span style="font-weight: normal;"><br /></span></i></span></div>
<div style="text-align: justify;">
<span style="color: #d9ead3; font-family: Georgia, Times New Roman, serif; font-size: large;"><i><span style="font-weight: normal;">Here you will find a comment of a new discovery made in Italy, It is followed by an excellent video produced by BBC. In addition, there is a link from "The Vatican Insider" on technological advances in approaching the Holy Linen. Finally, four videos on the history of the Shroud.</span></i></span><i style="color: #d9ead3; font-family: Georgia, 'Times New Roman', serif; font-size: x-large; font-weight: normal; text-align: left;"> </i></div>
</div>
<br /><div style="font-size: medium; font-weight: normal;">
<br /></div>
</h1>
<h1 class="entry-title heading-large" style="margin: 10px 0px; text-align: justify; text-rendering: optimizelegibility; word-wrap: break-word;">
<span style="text-align: left;"><div>
<span style="font-family: Georgia, Times New Roman, serif; font-size: large; font-weight: normal;"><i><br /></i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgloM4auRzl0kGbTad64Iy4nKOpdTJN_-zp1UTPj_ovpUEHwku92ASoOoIeW3wd6_a0gmis1bt2zHKWUTvEYYu8ke8LpzuFWnk8E89OwSe40z3oR_D8rD8bM5A3VuM6LRynOube-smim8Ow/s1600/shroud-of-turin-age.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgloM4auRzl0kGbTad64Iy4nKOpdTJN_-zp1UTPj_ovpUEHwku92ASoOoIeW3wd6_a0gmis1bt2zHKWUTvEYYu8ke8LpzuFWnk8E89OwSe40z3oR_D8rD8bM5A3VuM6LRynOube-smim8Ow/s400/shroud-of-turin-age.jpg" width="400" /></a></div>
<div>
<span style="font-family: Georgia, Times New Roman, serif; font-size: large; font-weight: normal;"><i><br /></i></span></div>
<div>
<span style="font-family: Georgia, Times New Roman, serif; font-size: large; font-weight: normal;"><i><br /></i></span></div>
<div style="font-family: Verdana, sans-serif; font-size: x-large;">
<br /></div>
</span></h1>
<h3 style="text-align: left;">
<span style="color: #b6d7a8; font-family: Trebuchet MS, sans-serif;"><span style="font-size: x-large; text-align: left;">New testing dates Shroud of Turin to era of Christ,</span><span style="font-size: x-large; line-height: 42.391px; text-align: left;"> </span><em style="line-height: 24.96875px; text-align: left;"><span style="font-size: large;">by Doug Stanglin (RNS, USA)</span></em></span></h3>
<br />
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">New scientific tests on the Shroud of Turin, which went on display Saturday (March 30) in a special TV appearance introduced by the pope, date the cloth to ancient times, challenging earlier experiments that dated it only to the Middle Ages.</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, 'Times New Roman', serif; font-size: large;">Pope Francis sent a special video message to the televised event in the Cathedral of Saint John the Baptist in Turin, Italy, which coincided with Holy Saturday, when Catholics mark the period between Christ’s crucifixion on Good Friday and his resurrection on Easter Sunday.</span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The Vatican, tiptoeing carefully, has never claimed that the 14-foot linen cloth was used to cover Christ after he was taken from the cross 2,000 years ago, as some believers claim.</span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Francis, reflecting that careful Vatican policy, on Saturday called the cloth, which is kept in a climate-controlled case, an “icon” — not a relic.</span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">But Archbishop Cesare Nosiglia of Turin, the “pontifical custodian of the shroud,” said the special display on Holy Saturday “means that it represents a very important testimony to the Passion and the resurrection of the Lord,” The Telegraph reported.</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The burial shroud purports to show the imprint of the face and body of a bearded man. The image also purportedly shows nail wounds at the man’s wrist and pinpricks around his brow, consistent with the “crown of thorns” mockingly pressed onto Christ before his crucifixion.</span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Many experts have stood by a 1988 carbon-14 dating of scraps of the cloth carried out by labs in Oxford, Zurich and Arizona that dated it from 1260 to 1390 — well more than 1,000 years after the time of Christ.</span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The new test, by scientists at the University of Padua in northern Italy, used the same fibers from the 1988 tests but disputes the earlier findings. The new examination dates the shroud to between 300 B.C. and 400 A.D., which would put it in the era of Christ.</span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">It determined that the earlier results may have been skewed by contamination from fibers used to repair the cloth when it was damaged by fire in the Middle Ages, the British newspaper reported. The cloth has been kept at the cathedral since 1578.</span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The new tests also supported earlier results claiming to have found traces of dust and pollen on that shroud that could only have come from the Holy Land.</span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The latest findings are contained in a new Italian-language book — “Il Mistero Della Sindone,” or “The Mystery of the Shroud,” by Giulio Fanti, a professor of mechanical and thermal measurement at the University of Padua, and journalist Saverio Gaeta.</span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Fanti, a Catholic, used infrared light and spectroscopy — the measurement of radiation intensity through wavelengths — in his test. He said the results are the outcome of 15 years of research.</span></div>
<br />
<br />
<div style="text-align: center;">
<br /></div>
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="281" mozallowfullscreen="" src="http://player.vimeo.com/video/59140317" webkitallowfullscreen="" width="500"></iframe> </div>
<div style="text-align: center;">
<br />
<br />
<br />
<div class="MsoNormal" style="font-family: Arial, Helvetica; font-size: 24px; font-weight: bold; text-align: justify;">
<span style="color: #f9cb9c;">New technologies at the service of faith, meditation and knowledge: a new App as an Evangelization tool aimed at approaching the Holy Linen in a multimedia manner, as of March 29. <a href="http://vaticaninsider.lastampa.it/en/world-news/detail/articolo/sindone-23587/">VATICAN INSIDER</a>, ROME </span></div>
<div class="MsoNormal" style="color: #0d4e5b; font-family: Arial, Helvetica; font-size: 24px; font-weight: bold; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="color: #0d4e5b; font-family: Arial, Helvetica; font-size: 24px; font-weight: bold; text-align: justify;">
<o:p></o:p></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
______________________________________</div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/x4SuqG6Jz8M?feature=player_embedded' frameborder='0'></iframe></div>
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://img.youtube.com/vi/H3TaJAO_Q-U/0.jpg" height="266" width="320"><param name="movie" value="http://youtube.googleapis.com/v/H3TaJAO_Q-U&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="http://youtube.googleapis.com/v/H3TaJAO_Q-U&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/veE9-mr0B6s?feature=player_embedded' frameborder='0'></iframe><br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/nhP9KVnHbNk?feature=player_embedded' frameborder='0'></iframe><br />
<br /></div>
</div>
Anonymoushttp://www.blogger.com/profile/15536415371721057483noreply@blogger.com0tag:blogger.com,1999:blog-7831747494465516185.post-91625751212880759452013-04-21T06:39:00.000-07:002013-04-21T06:39:04.291-07:00A History of St. Catherine's Monastery in Egypt's Sinai ( including icons and videos)<div dir="ltr" style="text-align: left;" trbidi="on">
<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div style="text-align: center;">
<br /></div>
<div style="text-align: justify;">
<h3>
<span style="font-family: Georgia, Times New Roman, serif; font-size: x-large; font-weight: normal;"><span style="text-align: left;"><br /></span><span style="text-align: left;">A History of St. Catherine's Monastery</span><span style="text-align: left;">, b</span><span style="text-align: left;">y John Watson</span></span></h3>
</div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><b><span style="text-align: left;"><br /></span></b></span></div>
<div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif;"><span style="font-size: large;"><br /></span></span></div>
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcsyPmGaSTKgTGa9jLsEHaTTvOBv89QcR5lE_2uOMGpdZ0TfKtxaOVOHaFKagTBEFSUpoCG9yL6IMCk-bETEL8WhhVJbZa7ZO6lkrYgDW2YXov4kKzMFKEb1t_gUyJ7HrsOeInF4zmaIrG/s1600/st+catherine+sinai.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcsyPmGaSTKgTGa9jLsEHaTTvOBv89QcR5lE_2uOMGpdZ0TfKtxaOVOHaFKagTBEFSUpoCG9yL6IMCk-bETEL8WhhVJbZa7ZO6lkrYgDW2YXov4kKzMFKEb1t_gUyJ7HrsOeInF4zmaIrG/s400/st+catherine+sinai.jpg" width="400" /></span></a></div>
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The Monastery of St. Catherine, also known as the Monastery of the Transfiguration, is located in a triangular area between the Desert of El-Tih, the Gulf of Suez and the Gulf of Aqaba in the Sinai. It is situated at an altitude of 4854 feet in a small, picturesque gorge. It is a region of wilderness made up of granite rock and rugged mountains which, at first glance, seems inaccessible. In fact, while small towns and villages have grown up on the shores of the two gulfs, only a few Bedouin nomads roam the mountains and arid land inland. Well known mountains dominate this region, including Mount Sinai (2,285 meters), Mount St.Catherine (2,637 meters), Mount Serbal (2,070 meters) and Mount Episteme.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRDGrmoAxhy-4KveiqPbfqWHb2l5fkPFX30qtc7Jp0bjapc-B_1Kozv26a1ijn6N8NRwqz8xVwIjWxNqRjRyvSvHeV-Yjm4xbPabcX6FKknTYXMeJ7zMYmaHxlfgRFN98PU7e9s8b5YOq-/s1600/01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRDGrmoAxhy-4KveiqPbfqWHb2l5fkPFX30qtc7Jp0bjapc-B_1Kozv26a1ijn6N8NRwqz8xVwIjWxNqRjRyvSvHeV-Yjm4xbPabcX6FKknTYXMeJ7zMYmaHxlfgRFN98PU7e9s8b5YOq-/s400/01.jpg" width="400" /></span></a></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">This is the region through which Moses is said to have led his people, eventually to the Promised Land, and there are legends of their passing in many places. Of course, one of the most exceptional locations is that of Mount Sinai, where Moses met with God who delivered to him the tablets containing the Ten Commandments. Obviously, the region is sacred to Christians, Jews and Muslims alike.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEign3NHu8cKtoTP7k3pvJpo3mLKkfNJDJHxXZVUVZQStis5MXg5kO1tui6E400OA_i9Pfk1Xuc8BMlvzi8sFFbDLFVSVBqxet-gl6ksZ1Qc3M_vc6jF1XigZ3ftFKX8C_FuCSDAM33tw9Le/s1600/chistory12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEign3NHu8cKtoTP7k3pvJpo3mLKkfNJDJHxXZVUVZQStis5MXg5kO1tui6E400OA_i9Pfk1Xuc8BMlvzi8sFFbDLFVSVBqxet-gl6ksZ1Qc3M_vc6jF1XigZ3ftFKX8C_FuCSDAM33tw9Le/s400/chistory12.jpg" width="397" /></span></a></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">While grazing his flocks on the side of Mt. Horeb, Moses came upon a burning bush that was, miraculously, unconsumed by its own flames. A voice speaking out of the fire (Exodus 3:1-13) commanded him to lead his people out of bondage in Egypt and return with them to the mountain. Upon his return Moses twice climbed the mountain to commune with God. Regarding the second ascent, Exodus 24: 16-18 states: And the glory of the Lord abode upon Mount Sinai, and the cloud covered it six days; and the seventh day God called unto Moses out of the midst of the cloud. And the appearance of the glory of the Lord was like devouring fire on the top of the mount in the eyes of the children of Israel. And Moses entered into the midst of the cloud, and went up into the mount; and Moses was in the mount forty days and forty nights. During this time on the mountain Moses received two tablets upon which God had inscribed the Ten Commandments, as well as precise dimensions for the Arc of the Covenant, a portable box-like shrine that would contain the tablets. Soon thereafter, the Arc of the Covenant was constructed and Moses and his people departed from Mount Sinai.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieitDEil2E2r7izAl-7onZa6am712sgH1aAO13NWeRhFDS7q3gdC6W-I-x8cPlSbgd0mElcC9j4UaB4PdWR1Sd0CYxoigAAAHIqLIXBdMUlPFNSpQboOGqoig_uTxY9SKt94mTh7467ls2/s1600/chistory10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieitDEil2E2r7izAl-7onZa6am712sgH1aAO13NWeRhFDS7q3gdC6W-I-x8cPlSbgd0mElcC9j4UaB4PdWR1Sd0CYxoigAAAHIqLIXBdMUlPFNSpQboOGqoig_uTxY9SKt94mTh7467ls2/s400/chistory10.jpg" width="400" /></span></a></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The Arc of the Covenant and its supposedly divine contents are one of the great mysteries of antiquity. According to archaic textual sources the Arc was a wooden chest measuring three feet nine inches long by two feet three inches high and wide. It was lined inside and out with pure gold and was surmounted by two winged figures of cherubim that faced each other across its heavy gold lid. Some scholars believe that the Arc may have contained, in addition to the Tablets of the Law, pieces of meteorites and highly radioactive rocks. In the ensuing two hundred and fifty years, between the time it was taken from Mount Sinai to when it was finally installed in the temple in Jerusalem, the Arc was kept for two centuries at Shiloh, was captured by the Philistines for seven months, and then, returned to the Israelites, it was kept in the village of Kiriath-Jearim. During this entire time it was associated with numerous extraordinary phenomena, many of which involved the killing or burning of often large numbers of people. Passages in the Old Testament give the impression that these happenings were divine actions of Yahweh, the god of the Hebrews. Contemporary scholars, however, believe that there may be another explanation.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">Some have suggests that the Arc, and more precisely its mysterious contents, may have been a product of ancient Egyptian magic, science and technology. Moses, being highly trained by the Egyptian priesthood, was certainly knowledgeable in these matters and thus the astonishing powers of the Arc and its 'Tablets of the Law' may have derived from archaic Egyptian magic rather than the mythical god Yahweh. However, it should be noted that this comes from an alternative school of thought.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwJKiRSlcJk0SvQPTzbdWsmPzMkmNrZ286u8TiNL6XUdTHUAxVKQAGNwjiaBMAa2ur90gvMD8jvSnuQ4HDGmS6kXH-AG506TtHgYMeDTGiVR5YkcgNDiSrpga2qL1-9dCDT3gM6xTHU6Ll/s1600/ST.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwJKiRSlcJk0SvQPTzbdWsmPzMkmNrZ286u8TiNL6XUdTHUAxVKQAGNwjiaBMAa2ur90gvMD8jvSnuQ4HDGmS6kXH-AG506TtHgYMeDTGiVR5YkcgNDiSrpga2qL1-9dCDT3gM6xTHU6Ll/s400/ST.jpg" width="400" /></span></a></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">On the peak of Jebel Musa stands a small chapel dedicated to the Holy Trinity. This chapel, constructed in 1934 on the ruins of a 16th century church, is believed to enclose the rock from which God made the Tablets of the Law. In the western wall of this chapel is a cleft in the rock where Moses is said to have hidden himself as Gods glory passed by (Exodus 33:22). Seven hundred and fifty steps below the summit and its chapel is the plateau known as Elijahs Basin, where Elijah spent 40 days and nights communing with God in a cave. Nearby is a rock on which Aaron, the brother of Moses, and 70 elders stood while Moses received the law (Exodus 24:14). Northwest of Elijahs plateau hardy pilgrims visit Jebel Safsaafa, where Byzantine hermits such as St. Gregory lived and prayed. Beneath the 2168 meter summit of Ras Safsaafa stands the Plain of ar-Raaha, where camped the Israelites at the time Moses ascended the mountain and where Moses erected the first tabernacle.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRdwOmjYiwaqAHE81xCikwxjSSFsybhehd50yXloBom78gO-nJL7DyZWwKZc2na9s85a6BCfdGNtY9lB8mhC31yoac0eSPSsod_Pck7aMf29zPGVAsH3qHe9tE_5Va1eBMeg46xSjjrFEw/s1600/tab.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRdwOmjYiwaqAHE81xCikwxjSSFsybhehd50yXloBom78gO-nJL7DyZWwKZc2na9s85a6BCfdGNtY9lB8mhC31yoac0eSPSsod_Pck7aMf29zPGVAsH3qHe9tE_5Va1eBMeg46xSjjrFEw/s400/tab.jpg" width="301" /></span></a></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">Currently there is no archaeological evidence that the granite peak of Jebel Musa Mount Sinai on the Sinai Peninsula is the actual Mount Sinai of the Old Testament and various scholars, such as Emmanuel Anati, writing in his comprehensive study, The Mountain of God, have proposed several alternative locations. The association of Jebel Musa with the Biblical Mount Sinai seems to have first developed in the 3rd century AD when hermits living in caves on the mountain began to identify their mountain with the ancient holy peak.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">Monastic life started at a very early period in the region around Mount Sinai. Christian hermits began to gather at Sinai from the Middle of the 3rd Century. St. Antony, who retreated into Egypt's Eastern Desert, inspired many others to cast off their worldly possessions and many of them settled at the foot of Mount Sinai, along with other nearby mountains, especially Mount Serbal, where they led a life of strict spiritual and corporal discipline.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The life that these early hermits followed was neither easy or safe. The 4th and 5th centuries were particularly troublesome times, when Christians were not only persecuted, but suffered from barbarian assaults. The monk, Ammonius of Egypt, wrote a Discourse upon the Holy Fathers slain on Mount Sinai and at Raitho, and there is much other documentation of the massacre and martyrdom of the Holy Fathers of the Sinai and Raitho by the Hagarenes and the Blemmyes of Africa, particularly during the Roman reign of Diocletian. This nevertheless did not prevent the development of monasticism in the Sinai desert, nor did it prevent the fame of many of the hermits from spreading both East and West.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkUShLIlCiKXK4D3iwzALP85oKZSW44ttqTZJi4hW511X1_ns34a0abJtN8Eio98SXZ3Kmx30J-3zkm7wQFN6CY-NaQq_kfyvvpSa1V924JKlm0gzqzJ848b0-sLv3WLD8ZfBo5DpjtdZq/s1600/chistory08.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkUShLIlCiKXK4D3iwzALP85oKZSW44ttqTZJi4hW511X1_ns34a0abJtN8Eio98SXZ3Kmx30J-3zkm7wQFN6CY-NaQq_kfyvvpSa1V924JKlm0gzqzJ848b0-sLv3WLD8ZfBo5DpjtdZq/s400/chistory08.jpg" width="400" /></span></a></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">Small monastic communities formed very early in the Sinai, particularly at Mount Horeb, thought to be the site of the Burning Bush and in the Wadi Feiran (ancient Pharan). The anchorites lived in caves, stone-built cells and huts. They spent their days in silence, prayer and sanctity.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">Tradition holds that, in 330 AD, in response to a request by the ascetics of the Sinai, the Byzantine empress Helena (St. Helen) ordered the building of a small church, dedicated to the Holy Virgin, at the site of the Burning Bush, as well as a fortified enclosure where the hermits could find refuge from the attacks of primitive nomadic tribes.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYVmagsRF07WIDg50ZAUZUuV_LxJIauq1MZv3qGG18PjSkzHTH5RrqVu4Vfqe-cr-i8ewD8shyphenhyphenJQAi1PlOs8GDLpXu8uV03Myl2uTAMmCscFY4Qpgy1YRV4DatABZ1JtvXeF6O1OABu8Zp/s1600/nt.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYVmagsRF07WIDg50ZAUZUuV_LxJIauq1MZv3qGG18PjSkzHTH5RrqVu4Vfqe-cr-i8ewD8shyphenhyphenJQAi1PlOs8GDLpXu8uV03Myl2uTAMmCscFY4Qpgy1YRV4DatABZ1JtvXeF6O1OABu8Zp/s400/nt.jpg" width="342" /></span></a></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">Now, the South Sinai became a place of pilgrimage that was visited by many from far away lands. In 1884, a manuscript was discovered that relates a visit to the area by Aetheria between 372 and 374 AD. She was a Spanish noblewoman who was accompanied by a retinue of clerics. She relates finding a small church on the summit of Mount Sinai, another one on Mount Horeb and a third one at the site of the Burning Bush, near which there was a fine garden with plenty of water.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">Her account clearly reveals the expansion of monasticism in the Sinai desert. In fact, by the 5th century, the growing population of hermits was apparently headed by a dignitary, mentioned as the Bishop of Pharan, who's office was eventually taken over by the Bishop of Sinai. With this development apparently came a request by the Sinai monks, to Justinian, the Byzantium emperor, for assistance. He thus founded a magnificent church, which he enclosed within walls strong enough to withstand attacks and protect the monks against nomadic raids, which today is known to us as the Monastery of St. Catherine.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">By the 7th century, the Monastery faced a dangerous situation and a grave crisis, mainly due to the Arab conquest. Although information on this period is scant, one source tells that by the year 808, the number of monks in the monastery had been reduced to thirty, while Christian life on the Sinai peninsula had all but vanished. However, the monastery itself did not vanish.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">According to tradition, and evident from indirect information, the Fathers of the Monastery requested the protection of Mohammed himself, who saw the Christians as brothers in faith. Apparently, the request was favorably accepted and the so called ahtiname, or "immunity covenant" by Mohammed instructed his followers to protect the monks of the Sinai. Though this document has been a matter of controversy, it is doubtful that the monastery could have survived without the protection afforded by Mohammed and his successors.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF4llvMtiMU8GCFIW8Vy-TQm4i_FDTroTjlShZURH7jH9CKqNlZO-pSRdubPlCUFVjcOQf6gbEwu5hdunF6-eF338HAU5bEt3siV2cpmmZbWAbvSagPwfEgzpxqt600zwIYZrhFu0WSqZc/s1600/suc.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF4llvMtiMU8GCFIW8Vy-TQm4i_FDTroTjlShZURH7jH9CKqNlZO-pSRdubPlCUFVjcOQf6gbEwu5hdunF6-eF338HAU5bEt3siV2cpmmZbWAbvSagPwfEgzpxqt600zwIYZrhFu0WSqZc/s400/suc.jpg" width="275" /></span></a></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The 11th century marked a new period for the monks of the Sinai. There was a transfer of relics of St. Catherine to France, and the presence of Crusaders in the Sinai between 1099 and 1270 spurred the interest of European Christians for the security and independence of the monks and for the safeguard of the land properties (dependencies) owned by the Monastery in Egypt, Palestine, Syria, Crete, Cyprus and Constantinople.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The fact that a castle presupposes a military force accounts for the mention some authors make of a military order of St. Catherine, founded in 1063, which would thus antedate any other military order. No trace has been found, however, of the rule of any such order, or of a list of its grand masters. From the Crusades the Monastery of St. Catherine attracted many Latin pilgrims, who gradually formed a brotherhood, the members of which pretended to the knighthood. In return for a vague promise to protect sacred shrines and pilgrims, they were granted the coveted St. Catherine's Cross. The carved wooden portal giving access to the Narthex of the Katholikon (the earliest church in the monastery, built about the same time as the enclosure wall) and the various lain inscriptions in the old Refectory date from those years. Interestingly though, the Monastery had a Muslim garrison during the same period, so the Fathers had to maintain a delicate balance between the Christians of the West and the Muslims of the region. In fact, to this day an ancient Mosque, dating from the 10th or 11th century, sits within the walls of the Monastery.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The Roman Popes at times defended the rights of the Monastery with various bulls and proclamations. Pope Honorius III in 1217, Pope Gregory X (1271-1276), Pope John XXII (1316-1334), Pope Benedict XII in 1358, Pope Innocent VI in 1360, all expressed in many ways their goodwill for the monastery, and interceded in favor of the Monastery's privileges in Crete, Cyprus and other places.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">Others also came to their aid. The Doges of Venice regulated with official documents the attitude of the Dukes of Crete concerning the Monastery's dependencies on the island. They ruled in favor of the monks' interests, granted tax exemptions and sometimes permitted even the collection of funds to aid the monastery. The Venetians, as well as other Christians of the West, respected the monastery's ships, which sailed the seas flying the banner of St. Catherine with the Saint's monogram (AK).</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAx8DbVTUkTjdQwNC4-Fr1chv7ooq_k1RUAnTasyhyphenhyphen43YY0XNEEjys0gav4DulZAtXRxlHxZOXy13AMlL8ose1bKTKmnS0gSFpAy-11NLQqQgnrRRpTZGArcPrQSCuLrr1lv0zWKRGloGV/s1600/chistory06.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAx8DbVTUkTjdQwNC4-Fr1chv7ooq_k1RUAnTasyhyphenhyphen43YY0XNEEjys0gav4DulZAtXRxlHxZOXy13AMlL8ose1bKTKmnS0gSFpAy-11NLQqQgnrRRpTZGArcPrQSCuLrr1lv0zWKRGloGV/s400/chistory06.jpg" width="400" /></span></a></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">Even though the Monastery of St. Catherine, since the time of the Arab conquest of Egypt, has been situated in a mostly Islamic region, communication with Constantinople never stopped and the relations with Byzantium were close. A number of documents reveal decisions and actions on the part of a number of Byzantine emperors, extending financial assistance to the monastery. The official attitude and opinion of the Byzantines with regard to the Monastery and its prestige is expressed in a letter by the patriarch of Constantinople Gennadio (1454), addressed to "the most honorable among monks, Kyr Maximos, by his worldly name Sophianos, and to all the most blessed hieromonks and monks practicing asceticism in the holy Monastery of Sinai". He calls the Sinai "our pride", indicating the great esteem and reverence in which the Orthodox held one of the worlds oldest Christian monasteries.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">Even Turkish Sultans, in particular Selim I and Suleiman the Magnificent, at times issued favorable decrees exempting the Monastery from custom duties, which helped it attain great prosperity. On several different occasions, the Turkish Sultans defended the interests of the Monastery against the claims of powerful Jews on the Sinai. At the same time, Christian kings of Europe and other important rulers gave financial assistance and presented the monastery with generous donations.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">When Napoleon conquered Egypt in 1798, he placed the monastery under his protection. The documents confirming this status, and which recognizes older privileges granted to the monastery, are now kept in the monastery's gallery.</span></div>
<div style="text-align: justify;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQWM8lDZ8doGfsDhU2a1DH3r2ENOqFVMh9HhAPT_0b17SJ5UYignrntnL-OoS1FmHFp8M9wF09oEwUImfLxZUhx9ftMsFYUgttNgD_xLJ4uUeQPsA9uSzsqJd3ii8EpgRj4ifBgMlNyRaS/s1600/chistory01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQWM8lDZ8doGfsDhU2a1DH3r2ENOqFVMh9HhAPT_0b17SJ5UYignrntnL-OoS1FmHFp8M9wF09oEwUImfLxZUhx9ftMsFYUgttNgD_xLJ4uUeQPsA9uSzsqJd3ii8EpgRj4ifBgMlNyRaS/s320/chistory01.jpg" width="262" /></span></a></div>
</div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">Through the 14th century, many thousands of pilgrims came annually to the monastery, even though the journey from Cairo took eight days by foot and camel. Following the Reformation, the popularity of Christian pilgrimage drastically declined until, during the mid 1900s, no more than 80 to100 pilgrims made the arduous journey each year. In the 1950s the Egyptian government paved roads leading to oil fields and mines along the western Sinai coast and also developed a dirt track to the foot of Jebel Musa and the monastery, which allowed increasing numbers of secular tourists to travel in taxis from Cairo. The completion of a paved road further increased the number of visitors to Jebel Musa. Bus service to and from Cairo became available on a daily basis in 1986 and today it is not uncommon for a hundred or more pilgrims and tourists to visit the ancient sacred site in a single day. Currently Greek Orthodox monks tend the monastery and its extraordinary collection of Byzantine art and illuminated manuscripts.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">It is not known when or how the monastery obtained possession of the remains of St Catherine of Alexandria and adopted her name. According to legend her body was transported thither by the hands of angels. The name, however, does not appear in literature before the tenth century.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: large;"><br /></span>
</span></div>
<h3 style="text-align: center;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The Icons of St. Catherine's Monastery</span></h3>
<br />
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-family: Verdana, sans-serif;"><br /></span></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-family: Verdana, sans-serif;"><br /></span></span></div>
<span style="font-family: Verdana, sans-serif;">
</span><br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXoAR3-QSj7sVSH7goSx_2ZfTx_FCITCPpMSwP1DrxyvisIzmmMYbyKlCO4Y04xX8bhu6hMjVp1D-KuuQDm25laSpljmKHQIXDL9ZzS2xs-C5EGsfTubP5C1Hw2vlf_lbgR651KPPQgDns/s1600/bm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXoAR3-QSj7sVSH7goSx_2ZfTx_FCITCPpMSwP1DrxyvisIzmmMYbyKlCO4Y04xX8bhu6hMjVp1D-KuuQDm25laSpljmKHQIXDL9ZzS2xs-C5EGsfTubP5C1Hw2vlf_lbgR651KPPQgDns/s640/bm.jpg" width="336" /></a></span></div>
<br />
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-family: Verdana, sans-serif;"><br /></span></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-family: Verdana, sans-serif;"><br /></span></span></div>
<span style="font-family: Verdana, sans-serif;">
</span><br />
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The Monastery of St. Catherine in Egypt's Sinai is a wonderful place to visit, interesting in every respect, but it is not famous throughout the world simply for its facilities nestled up against the foot of Mount Sinai. The monastery has one of the largest collections of ancient illuminated manuscripts in the world, as well as one of the most important collections of icons. Here, we will examine the icons, which number over 2,000, large and small, some unique masterpieces while others are simple works of art. They are spread throughout the complex, with some in the Katholikon, the chapels, the icon gallery, the sacristy and even in the monks' cells. They were produced during various periods between the 6th and 19th century, with every period adding new treasures to the monastery's vast collection.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: large;"><br /></span>
</span></div>
<h4 style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><b>Encaustic Icons</b></span></h4>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The encaustic technique uses wax and vegetal pigments mixed at high temperature and spread on a wooden surface, and the icons produced with this technique are of considerable historical and artistic value. This method required the artist to create a preliminary drawing of the subject on wood, or very rarely, marble panels and then apply the still warm mixture to the surface using either a brush or a hot iron. The artist would then work on the colors by rubbing the mixture into the painted surface using a special instrument. The mixture penetrates deeply into the pores of the material and when it cooled the colors become indelible.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The earliest icons were produced using the encaustic technique, which was used until the 7th century AD, when it was replaced by the secco or tempera painting. The famous portraits of the dead found in great numbers in the Fayoum were produced in this manner, and the Monastery of St. Catherine has a number of important encaustic icons.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: large;"><br /></span>
</span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSjSOb25jkj4oNvssw7zBJ6wYZUOLMThYK6J3Dqrt_WYIFKvJGag72pUrR8eANOlxteKzZR4Y_4tQEagf30qDbf4U_9EPLTE2dbeHbR0ra8p_nLtmKegFigM-MvfnyHkoN7dGk0aNyuGNH/s1600/cm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSjSOb25jkj4oNvssw7zBJ6wYZUOLMThYK6J3Dqrt_WYIFKvJGag72pUrR8eANOlxteKzZR4Y_4tQEagf30qDbf4U_9EPLTE2dbeHbR0ra8p_nLtmKegFigM-MvfnyHkoN7dGk0aNyuGNH/s400/cm.jpg" width="331" /></a></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: large;"><br /></span>
</span></div>
<h4 style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">Icons of Monastic Eastern Art of the 7th-9th Century</span></h4>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The icons present within the monaster from this group come from local workshops active in monasteries of the East, particularly Egypt, Palestine, Syria and Cappadocia. What is distinctive about these icons is that they come from a period when the Arab conquest precluded most of the contact between Eastern regions and the Christian Greek centers. Hence, they are products of folk art, less refined in character, and they make use of a primitive realism to give expression to the local tradition of the Coptic and Syrian Churches. Nevertheless, it should be remembered that these rare icons have been one of the main sources that contributed in shaping Christian art in the following centuries.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: large;"><br /></span>
</span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjPKOaJ-819IcDHuvlfzmMQvv5OHYACF0-OrlULP7I4_VKmP3qQzkEiQWYiUyXx0udP9I7io7uh13YKwR-GVLclCC47HYEFYFZrPsqCrfTCk4XHUv3U-pOuibKcIH_rCDgIx-_-wOoGLnz/s1600/g3m.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjPKOaJ-819IcDHuvlfzmMQvv5OHYACF0-OrlULP7I4_VKmP3qQzkEiQWYiUyXx0udP9I7io7uh13YKwR-GVLclCC47HYEFYFZrPsqCrfTCk4XHUv3U-pOuibKcIH_rCDgIx-_-wOoGLnz/s400/g3m.jpg" width="263" /></a></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: large;"><br /></span>
</span></div>
<h4 style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">Icons Dating from the 9th to the 12th Century</span></h4>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">There were two characteristics that defined the development of icons during this period. First, they illustrate the continuation of pre-iconoclastic painting tradition into the post iconoclastic period and second, they show a turn toward the classical concept of art, reflected in the delicacy of drawing and the beauty of form.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">Many of these important icons came from the imperial ateliers of Byzantium, including one with scenes from the story of King Abgar, where we find the earliest representation of the Holy Mandylion. Others are portraits of Christ, the Archangels, Saints, hierarchs and hermits. Illuminated manuscripts were produced in great numbers during this period, including Gospel-books, synaxaries and other texts, and the very significant art of miniature painting had a more general influence on iconography.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: large;"><br /></span>
</span></div>
<h4 style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">Icons of the Comenian Age (1080-1200 AD)</span></h4>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">During the Comenian Age, icon painting was continued in the great tradition of the earlier Macedonian school, with works of classicist tendency, provincial character or monastic inspiration, depending on the place and environment from which they originated. The Monastery of St. Catherine has in its possession a large collection of icons from this period representing all three trends. Characteristics of these icons include a well balanced layout of compositions, the forceful expression of figures, the harmony of color schemes and the tendency toward dematerialization combined with a refined sense of nobility and grace.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: large;"><br /></span>
</span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq9Mg8Ph6sGSr4ZXL_IDfmORKOYQRt7IMbGnqQjElfoYrGvEpZTG-FuNC9V4CVkfBURdu7dAvBTmV0Ky2gupzFNxKijEuaLF38kTzYFWCZJM8LL8iSw52PRILYgRj5tmGaOiy1Sf_stEiT/s1600/e.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq9Mg8Ph6sGSr4ZXL_IDfmORKOYQRt7IMbGnqQjElfoYrGvEpZTG-FuNC9V4CVkfBURdu7dAvBTmV0Ky2gupzFNxKijEuaLF38kTzYFWCZJM8LL8iSw52PRILYgRj5tmGaOiy1Sf_stEiT/s400/e.jpg" width="390" /></a></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: large;"><br /></span>
</span></div>
<h4 style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">Icons on Iconostasis Epistyles</span></h4>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">Icons such as these, dating from the 11th to the 14th Century, were painted as a frieze along the entire length of the upper part, or epistyle of wood-carved icon screens. Those in the monastery collection, for the most part, came from various chapels within the monastery. The most important of these has seven scenes depicting the life of St. Eustratios.</span></div>
<br />
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-family: Verdana, sans-serif;"><br /></span></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-family: Verdana, sans-serif;">Typically, the subjects that adorn these screens are of the Great Deesis, scenes from the Dodecaorton (cycle of the Twelve Feasts), scenes from the life of the Virgin Mary and miracles of the Saints. These paintings are masterly executed in fine color, while the figures are portrayed with spiritual intensity and lively movement. In general, the icons of this group reveal a workmanship of high artistic standard with marked traces of a great tradition in icon painting.</span></span></div>
<br />
<br />
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-family: Verdana, sans-serif;"><br /></span></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-family: Verdana, sans-serif;"><br /></span></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-family: Verdana, sans-serif;"><br /></span></span></div>
<span style="font-family: Verdana, sans-serif;">
</span><br />
<h4 style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">Menologia</span></h4>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: large;"><br /></span>
</span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The painting of menologia has its roots in the miniature illustration of manuscripts, and particularly those of the 11th and 12th centuries. Menologia icons depict the Saints honored on each day of the ecclesiastical year, and they form another large and significant category of icons in the monastery's collection. They come in a variety of forms, including twelve large icons composed of full-length portraits of the Saints of each month, two large icons in diptych form, comprising all the Saints of the ecclesiastical year and a four-wing icon and twelve wing icon of Saints and Martyrs portrayed in successive rows. The inspiration and subjects of these icons are mainly derived from the illuminated menologia of Symeon Metaphrastes (11th century) that have come from Constantinople. Some of these menologia have double inscriptions, both Greek and Iberian, which disclose a close relation between the Monastery of St. Catherine and the Church of Georgia.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: large;"><br /></span>
</span></div>
<div style="text-align: center;">
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif; font-size: large;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1jZrwNrC9nW06FGbNlp9E6XGFzSCLnQAFZhzlAUrVHPEPKxZG1DT2VjSYaRGb89yuECVp0tpmaG86cjE7t8gkb7JVSecfqTbZzkW9E1pTYJ1tMFbLJ4_GmQ03Hxr9_bgpwpxid7PQftM8/s1600/dm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1jZrwNrC9nW06FGbNlp9E6XGFzSCLnQAFZhzlAUrVHPEPKxZG1DT2VjSYaRGb89yuECVp0tpmaG86cjE7t8gkb7JVSecfqTbZzkW9E1pTYJ1tMFbLJ4_GmQ03Hxr9_bgpwpxid7PQftM8/s400/dm.jpg" width="400" /></a></span></div>
</div>
<h4 style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></h4>
<h4 style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">"Sinaitic" Icons</span></h4>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The Monastery of St. Catherine's collection of icons include a large group that are specific to the monastery, mostly dating from the 12th to the 15th century. They consist of portraits of important individuals associated with the Monastery. They usually represent monks, abbots, patriarchs and Saints, but include depictions of the Prophet Moses, St. Catherine, St. John Climacus and others. Most of these icons were almost certainly painted in the Monastery itself, and their varied style, technique and quality depend largely on the artistic skill of the painter. They are important because they represent an important source of information on the Monastery's history and art, as well as the general activity of notable people who lived in the monastery.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: large;"><br /></span>
</span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOCW1BMJbXdpBkzA6benLDGWoaVf68W0iQtWFHPrPFVXB13MoJtCORWCQc6umLBsyjK1HucqHb-b9JGi-4JXU7X7NAwvs-0-5U4qUXrsf1V-pMVPvn97HmfwBrfn_K7R-O6NACUyGrYAyT/s1600/jm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOCW1BMJbXdpBkzA6benLDGWoaVf68W0iQtWFHPrPFVXB13MoJtCORWCQc6umLBsyjK1HucqHb-b9JGi-4JXU7X7NAwvs-0-5U4qUXrsf1V-pMVPvn97HmfwBrfn_K7R-O6NACUyGrYAyT/s400/jm.jpg" width="277" /></a></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: large;"><br /></span>
</span></div>
<h4 style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">Icons of the 13th century and the Palaeologan Age</span></h4>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The Monastery collection contains a considerable number of icons dating to the 13the Century, and an even larger number number of icons continues the tradition into the 14th and 15th centuries, known as the age of Palaeologi. This was a period of new artistic trends that first made their appearance in the 13th century, with a tendency to renovate elements of plasticity and revert to normal proportions in the treatment of masses. In fact, the 13th century prepared the way for the art of the so-called Palaeologan Revival.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: large;"><br /></span>
</span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPQZfSi_bwWOdMEE1ZA2AOXMhZZ8_6VLiiClnqogK_eiiEYZDsttq5mDLilL_U8t_8V8VV1_QqKzD1AevuqIZwY5Hl9lQZc4-qhmnRvB6M5W5GXoGYt9GKqzOqF35_8BC_jAUE8Dc8bJ69/s1600/ym.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPQZfSi_bwWOdMEE1ZA2AOXMhZZ8_6VLiiClnqogK_eiiEYZDsttq5mDLilL_U8t_8V8VV1_QqKzD1AevuqIZwY5Hl9lQZc4-qhmnRvB6M5W5GXoGYt9GKqzOqF35_8BC_jAUE8Dc8bJ69/s400/ym.jpg" width="260" /></a></span></div>
<br />
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-family: Verdana, sans-serif;"><br /></span></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-family: Verdana, sans-serif;"><br /></span></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-family: Verdana, sans-serif;">A variety of style is a characteristic of this period. Notable icons from this period come from the hermitages of Southern Italy to the Venetian ruled islands of the Aegean, from the delicate technique of artists at Constantinople to the decorative character of Cypriot painting. All of these different styles wee represented and assimilated at the Monastery of St. Catherine.</span></span></div>
<br />
<br />
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-family: Verdana, sans-serif;"><br /></span></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-family: Verdana, sans-serif;">By the late Byzantine period (Palaeologan age), iconography no longer adhered to the established traditional standards. Those who painted icons followed new currents and trends dominated by a more realistic treatment of figures and scenes. Their works are characterized by freedom of expression and variety of type and by novel subject matter and compositions with many figures. These works would eventually give rise to the art of the post-Byzantine period, particularly of the 16th century, by enriching the iconographic cycles and remaining open to the influences from the art of the West and the Renaissance.</span></span></div>
<br />
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: large;"><br /></span>
</span></div>
<h4 style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">Post-Byzantine Cretan Icons</span></h4>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The Monastery of St. Catherine, sometimes also known as the Monastery of Sinai, is known to have maintained a close and enduring relationship with Crete, mostly through the Church of St. Catherine at Herakleion and later, in the years of the Turkish occupation, through the small Sinaitic Church of St. Matthew at Candia. Therefore, the existence of works by celebrated painters of the "Cretan School" in the monastery's icon collection is hardly surprising.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: large;"><br /></span>
</span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkb5aLvBIpC0c_mQEL10b2hkQZVNdGdlfI2U5u2nHvPHzM8EzNO8ksQ45swAJwkAMlHNvb2APFMY_VwWul0N0HigoWtunckihSE6Tyzq1wo6vMft5FUZeWJmMuv8pXijFA4HzlIev8FOOo/s1600/fm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkb5aLvBIpC0c_mQEL10b2hkQZVNdGdlfI2U5u2nHvPHzM8EzNO8ksQ45swAJwkAMlHNvb2APFMY_VwWul0N0HigoWtunckihSE6Tyzq1wo6vMft5FUZeWJmMuv8pXijFA4HzlIev8FOOo/s400/fm.jpg" width="322" /></a></span></div>
<br />
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-family: Verdana, sans-serif;"><br /></span></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-family: Verdana, sans-serif;"><br /></span></span></div>
<span style="font-family: Verdana, sans-serif;">
</span><br />
<h4 style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The Grand Mosaic of the Transfiguration</span></h4>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">One work within the Monastery's main church (Katholikon), decorating the sanctuary apse, is particularly notable. The subject of the Transfiguration is very appropriate to this holy site, which is associated with the two instances when God was "seen" by the Prophet Moses and by the Prophet Elijah, the latter of whom had felt God as a light breeze on Mount Horeb, below the Peak of the Decaloque).</span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span>
</div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuyhE8uod3tRN0TxX_kB7MQVuXTpGFqlBR60s80a4AJOPN3H4ZgcCnlxkwCFk4eqjpWkfo0FP-Cq6vnFvvGsZoNiaINTj9u40wsjawwcSIwtfVv9sy_3u4qdpLPhoxa3pwRRbgJSgagbf3/s1600/a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuyhE8uod3tRN0TxX_kB7MQVuXTpGFqlBR60s80a4AJOPN3H4ZgcCnlxkwCFk4eqjpWkfo0FP-Cq6vnFvvGsZoNiaINTj9u40wsjawwcSIwtfVv9sy_3u4qdpLPhoxa3pwRRbgJSgagbf3/s400/a.jpg" width="400" /></a></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><b><br /></b></span></div>
<div style="text-align: center;">
<h4 style="text-align: center;">
<span style="color: #ffd966; font-family: Georgia, Times New Roman, serif; font-size: large;"><i style="font-weight: normal;">In addition, you will find here two videos on the conservation of the Transfiguration mosaic at St. Catherine Monastery, Sinai. Enjoy!</i></span></h4>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="375" mozallowfullscreen="" src="http://player.vimeo.com/video/21347003" webkitallowfullscreen="" width="500"></iframe></div>
</div>
</div>
<div style="text-align: center;">
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
</div>
<div style="text-align: center;">
<a href="https://www.youtube.com/watch?feature=endscreen&v=dRRr_1koua8&NR=1"><span style="color: #ffe599; font-family: Courier New, Courier, monospace; font-size: large;">https://www.youtube.com/watch?feature=endscreen&v=dRRr_1koua8&NR=1</span></a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br />
<br /></div>
</div>
Anonymoushttp://www.blogger.com/profile/15536415371721057483noreply@blogger.com0tag:blogger.com,1999:blog-7831747494465516185.post-50923073188891151692013-04-20T02:14:00.000-07:002013-04-20T02:14:37.910-07:00The Power Of Art, by Simon Schama (BBC Series)<div dir="ltr" style="text-align: left;" trbidi="on">
<div id="watch-description-text" style="border: 0px; margin: 0px; padding: 0px;">
<h4 style="text-align: left;">
<div style="text-align: justify;">
<span style="color: #b6d7a8; font-family: Georgia, 'Times New Roman', serif; font-size: large; font-style: italic; font-weight: normal;"><br /></span></div>
<span style="color: #b6d7a8; font-family: Georgia, Times New Roman, serif; font-size: large;"><div style="text-align: justify;">
<i style="font-weight: normal;">The Power of Art is a BBC documentary series written and
presented by Simon Schama, published on 28 Dec 2012. He introduces eight
figures with a selection of artworks. Caravaggio, Van Gogh, Picasso are some of
them. Visions of beauty or a rush of intense pleasure are impregnated with
pain, desire, pity, even revulsion. </i></div>
</span></h4>
<div id="eow-description" style="border: 0px; padding: 0px; text-align: center;">
</div>
<div class="MsoNormal" style="text-align: justify;">
<o:p></o:p></div>
<br />
<div id="eow-description" style="border: 0px; padding: 0px; text-align: center;">
<span style="background-color: white; color: #b6d7a8;"><br /></span></div>
<div id="eow-description" style="border: 0px; padding: 0px; text-align: center;">
<span style="background-color: white; color: #b6d7a8;"><br /></span></div>
<div id="eow-description" style="border: 0px; padding: 0px; text-align: center;">
<span style="background-color: white; color: #b6d7a8;"><object width="320" height="266" class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://img.youtube.com/vi/A_GUJjvCBWY/0.jpg"><param name="movie" value="http://youtube.googleapis.com/v/A_GUJjvCBWY&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="http://youtube.googleapis.com/v/A_GUJjvCBWY&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></span></div>
</div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/p4iSgssahgE?feature=player_embedded' frameborder='0'></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /><object width="320" height="266" class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://img.youtube.com/vi/0Ka2O_7dEG0/0.jpg"><param name="movie" value="http://youtube.googleapis.com/v/0Ka2O_7dEG0&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="http://youtube.googleapis.com/v/0Ka2O_7dEG0&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/DJVCtPrJ7NQ?feature=player_embedded' frameborder='0'></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /><object width="320" height="266" class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://img.youtube.com/vi/kB_CdhU3ZeI/0.jpg"><param name="movie" value="http://youtube.googleapis.com/v/kB_CdhU3ZeI&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="http://youtube.googleapis.com/v/kB_CdhU3ZeI&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/Vj8EzpnoC1Y?feature=player_embedded' frameborder='0'></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/4ZCTrM3yfug?feature=player_embedded' frameborder='0'></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/rEIn1914XSM?feature=player_embedded' frameborder='0'></iframe></div>
</div>
Anonymoushttp://www.blogger.com/profile/15536415371721057483noreply@blogger.com0tag:blogger.com,1999:blog-7831747494465516185.post-41591483167605484562013-04-19T10:20:00.001-07:002013-04-19T10:20:30.074-07:00Armenian Cultural Traditions & Videos on Armanian Icons<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigqnz1RLzorAi9v2IeECESaNQfP1L6E7uI5zMRjmvbGeijZu7uwDAPOtaPlrEBbMGelLmgZNkxs_uJDsGuYU3LrIXItvngyzUWWEdcbIsfd1kBcbVPW9yM6BXJDB0Aoz1LS2LyejXvrFiW/s1600/Armenian+Cross+achkar.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigqnz1RLzorAi9v2IeECESaNQfP1L6E7uI5zMRjmvbGeijZu7uwDAPOtaPlrEBbMGelLmgZNkxs_uJDsGuYU3LrIXItvngyzUWWEdcbIsfd1kBcbVPW9yM6BXJDB0Aoz1LS2LyejXvrFiW/s400/Armenian+Cross+achkar.jpg" width="292" /></a></div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"> Armenians express their beliefs and characteristics through tangible and intangible creations that relate to their culture. The art of the Armenian people is a product of their history and world culture.</span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: large;">Folk art and culture play a great role in the identity of the Armenian people. Many Armenians explore the world surrounding them through symbols. The most important of these symbols include "The Sacred Mountain," "The World as a Garden," and "The Khachkar" (Armenian Cross-Stone).</span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: large;">"The Sacred Mountain," known as Mount Ararat, is usually linked with the resting place of Noah’s ark. Mount Ararat, which first belonged to the Republic country of Armenia, is now located in present-day Turkey.</span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: large;">Mount Ararat also symbolizes the struggles that Armenians went through in trying to keep their faith and unity. Although Armenians are physically separated from their sacred Ararat Mountain, they claimed to have never been too distant from it in spirit. The mountain appears before the eyes of those living in the capital of Armenia, Yerevan. This sight inspires many artisans and painters to constantly reproduce its image. For all intensive purposes, the mountain has become the "calling card" of Armenia.</span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: large;">"The World as a Garden" is another symbol for the identity of the Armenian culture. It portrays the vital culture in which Armenians cultivated grapes for the wine and raised cattle.</span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: large;">Many centuries before the Church of the Holy Cross was built at Lake Van, Armenians had read and learned about the Bible’s legend of the Garden of Eden. From this and many other biblical stories, Armenians believed to be somewhat connected to the holy lands described in Genesis 2:8-15.</span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: large;">Another symbol to the Armenian identity is "The Khachkar," which is a memorial stone unique to the country of Armenia. It is a rectangular block of stone that is carved into the Armenian cross. The portion of the stone in which the cross is engraved always faces the west.</span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: large;">Khachkars are found almost everywhere in Armenia, mostly by monasteries, crossroads, mountain ledges, springs and bridges. The design of the Armenian cross mirrors some of the designs preferred during the 4th century, which was around the time Christianity was first adopted by Armenians. The winged Armenian cross has a busy design with the lower part being slightly longer than the arms and the top of the cross. There are no two similar designs of the Armenian cross expect for the two unique wings.</span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: large;">Another important aspect of the Armenian culture is music and dance. The heritage of the Armenian dance is perceived to be one of the oldest and richest forms seen in the near east. Many rock statues and paintings of Armenian dancing remain from ancient times.</span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: large;">The music of Armenia is a very traditional one. Armenian music is mostly accompanied by musical instruments and is usually followed by the feasts and festivals being celebrated. In its recent years, Armenians have created new styles of music while staying true to old customs. This is supported in the present day by the world-class Armenian Philharmonic Orchestra, performing at the Opera House in the capital of Armenia, Yerevan.</span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: large;">Of all the aspects of the Armenian culture, the one that keeps the people united and has allowed for their perseverance to this day is the Armenian language and alphabet. The Armenian language is Indo-European, but linguists classify Armenian as an independent branch from other Indo-European languages. It has been spoken since at least 800 B.C.</span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: large;">It is the official language of the Republic of Armenia and Nagorno-Karabakh. The language is also spoken very commonly among Armenian communities in the Armenian Diaspora. The creation of the Armenian alphabet and continuance of this unique language have kept the Armenian public alive and strong, physically, emotionally and spiritually.</span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: large;">The Armenian people have overcome many obstacles throughout their history and continue to do so today; these challenging hindrances are evident in the cultural traditions. The Armenian people express their beliefs, histories, and lifestyles through the use of art, music, religion, architecture and books. These one of a kind expressions of culture exist within the core of the Armenian identity.</span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: justify;">
</div>
WEDNESDAY, MARCH 11, 2009<br />
Armenian Cultural Traditions & Icons<br />
Christine Kojayan<br />
bruingirl0021@ucla.edu<br />
<br />
<br />
<div style="text-align: center;">
<span style="color: #ffd966; font-size: large;"><br /></span></div>
<div style="text-align: center;">
<span style="color: #ffd966; font-size: large;"><br /></span></div>
<div style="text-align: center;">
<span style="color: #ffd966; font-size: large;"><br /></span></div>
<div style="text-align: center;">
<span style="color: #ffd966; font-size: large;"><br /></span></div>
<div style="text-align: center;">
<span style="color: #ffd966; font-size: large;">Videos on Icons in Early Armenia, by Thomas F. Mathews, Professor Emeritus of the History of Art, Institute of Fine Arts, New York University</span></div>
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/b1KPGgv6oHo?feature=player_embedded' frameborder='0'></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/Oo4tz8qOMNQ?feature=player_embedded' frameborder='0'></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/95tr1mybOx8?feature=player_embedded' frameborder='0'></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/Rzdh7fnmrZk?feature=player_embedded' frameborder='0'></iframe></div>
<br />
<br />
<br />
<br />
</div>
Anonymoushttp://www.blogger.com/profile/15536415371721057483noreply@blogger.com0tag:blogger.com,1999:blog-7831747494465516185.post-87762550925717871472013-04-18T10:13:00.003-07:002013-04-18T10:13:26.646-07:00A SERIES OF BROADCASTS ON TV OF THE MOST BEATIFUL "CREDO" IN THE WORLD AT MONREALE<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div style="text-align: justify;">
<span style="color: #38761d;"><br /></span></div>
<div style="text-align: justify;">
<span style="color: #b6d7a8;"><i><span style="font-size: large;">Here you will find a comment </span></i><i><span style="font-size: large;">by Sandro Magister</span></i><i><span style="font-size: large;"> </span></i><i><span style="font-size: large;"> about a series of broadcasts of a</span><span style="font-size: large;"> wonderful mosaics from the 12th century </span></i><span style="text-align: left;"><span style="font-size: large;"><i>at Monreale Cathedral, </i></span></span><i><span style="font-size: large;">based on the Credo. </span><span style="font-size: large;">The first of twelve episodes of “Il Credo nei mosaici di Monreale,"</span><span style="font-size: large;"> will be published on </span><span style="font-size: large;">Sunday, April 21. It will illustrate the first article of the profession of faith: “I believe in God, the Father almighty, creator of heaven and earth.”</span></i></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigtpVQSDdmQ2cFE1RfXdJBLwH_n0O4shM9HnpqNdhwDeC0OCxKmIEMGQAh_OtWqc8Mdjvcn6oSZEBmnV5YC83kmVWUbXyJIxUZdBqavjkX7OAM4kv2-Budw2FnLs0z7wI20ypH1K7S7deS/s1600/Mosaic+of+Monrealey-d4pwld5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigtpVQSDdmQ2cFE1RfXdJBLwH_n0O4shM9HnpqNdhwDeC0OCxKmIEMGQAh_OtWqc8Mdjvcn6oSZEBmnV5YC83kmVWUbXyJIxUZdBqavjkX7OAM4kv2-Budw2FnLs0z7wI20ypH1K7S7deS/s400/Mosaic+of+Monrealey-d4pwld5.jpg" width="400" /></a></div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">ROME, April 18, 2008 – In his last Wednesday general audiences, before renouncing the papacy, Benedict XVI had begun to explain the “Credo." His successor, Francis, has decided to continue the work.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The "Credo" is the first breath of the newborn Christian. It is all of a piece with Baptism, it is proclaimed at Sunday Mass, it is the identity card of the believer. “The faith is as we say in the Credo,” Pope Francis reiterated in a recent morning homily. The whole faith - he added - without subtractions, without reductions, without compromises.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">This is the reason that - in this year of faith - induced TV 2000, the channel of the Italian episcopal conference, to put the “Credo” at the center of an original series of broadcasts, beginning on Sunday, April 21.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">But how?</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">With the forms, the colors, the light of that masterpiece unique in the world which are the mosaics of the cathedral of Monreale, in Sicily.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">In twelve episodes like the twelve apostles, Sunday after Sunday, each article of the “Credo” will be narrated and presented to the viewer from inside that very cathedral, illuminated by its wonderful mosaics from the 12th century.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The narrator will be Fr. Innocenzo Gargano, a Camaldolese monk, a master of the Sacred Scriptures and the Fathers of the Church. A narrator in the proper sense of the word. Because the “Credo” is not an arid list of dogmas. It is the living history of the action of God with men and for men. It is "historia salutis" with its summit in the Christ "Pantocrator" that dominates the apse of the cathedral of Monreale.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">Step by step, from inside the cathedral, Fr. Innocenzo will unveil the “spirit” of the images and therefore of the sacred narration, following the outline of the articles of the “Credo.”</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">He will alternate with the art historian Sara Magister, who will illustrate the “letter,” the iconography of the same images, from the studios of TV 2000 in Rome.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">One will thus embark upon an adventure without equal, from the first moments of creation to the coming of Jesus to the heavenly Jerusalem. An adventure revisited precisely in the place in which these same images become sacramental reality, when the Eucharist is celebrated on the altar.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">More than eighty years ago the cathedral of Monreale was visited by Romano Guardini, an Italian-German theologian very dear to Joseph Ratzinger and Jorge Mario Bergoglio.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">Guardini attended the rites of Holy Week in the packed church, and was struck by the attitude of the faithful:</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">"The women with their veils, the men with their cloaks around their shoulders. Everywhere could be seen distinguished faces and a serene bearing. Almost no one was reading, almost no one stooped over in private prayer. Everyone was watching intently, everyone was rapt in contemplation."</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The director of TV 2000, Dino Boffo, said in presenting the new program:</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">"The believers who over the past nine centuries had the opportunity to turn their gaze upward and admire the mosaics of the cathedral of Monreale were for the most part illiterate, but not for this reason fatally destined to remain in ignorance. The nourishment of the faith came through the charm of the beautiful, of the majestic. ' One day we will look upon that beautiful face of the Risen One,' Pope Francis said to the cardinals who had just elected him. And so, one foretaste of that unfathomable beauty is precisely in the vault of the apse of Monreale, where the mosaics that decorate the walls of the cathedral converge.”</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The twelve episodes of “Il Credo nei mosaici di Monreale," each of them half an hour long, will be broadcast every Sunday at 8:30 in the morning and replayed at 3:30 pm.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">The first episode, on Sunday, April 21, will illustrate the first article of the profession of faith: “I believe in God, the Father almighty, creator of heaven and earth.”</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">TV 2000 can be seen in Italy on cable channel 28 and satellite channel 142 of Sky.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;">But the program can also be seen via streaming all over the world, on the website of the channel.</span></div>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">by Sandro Magister</span></div>
Anonymoushttp://www.blogger.com/profile/15536415371721057483noreply@blogger.com0tag:blogger.com,1999:blog-7831747494465516185.post-48862034106824782202013-04-18T10:12:00.003-07:002013-04-18T10:12:34.371-07:00Our Vocation Today: A Conference by Abbot Paul Stonham, OSB<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<br />
<br />
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"> I don’t know about you, but these past few months I’ve felt quite unsettled and disorientated, as though I were living in a dream. First of all, the resignation of Pope Benedict: could it really be? There was that feeling of confusion, of bereavement without a death. Then the election of Pope Francis and again: is this really happening? At times it was as though I were living through a film or a novel, believing that I would wake up at any moment and realize it was only a dream. If it was like for me, then what must it have been like, perhaps still is like, for the protagonists themselves. I often think of Benedict, of what he must be doing now, at this very moment, and of Francis, of how he must be coping, just when he was planning to retire and take things easy for the first time in his life. But in the Church, Christ has called us to serve and to be faithful to the end, so no retirement and certainly no taking things easy for any of us in the struggle against sin and in the fight to be good.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"> How should we not be disorientated and confused, when this is the first time that we have ever lived through such an historic transition? What’s more, no one else has lived through this experience and written about it, telling us how it is. Even so, there is one thing that has struck me throughout and it’s this: there is something very powerful and particular that unites these two men, these two Popes and, as it were, fuses their ministries into one: a holy stillness, a divinely inspired calm, a spirit of contemplation, the effusion of peace, that reminds us of the words of Jesus, which we repeat every day at Mass. “Peace I leave you; my own peace I give you, a peace which the world cannot give, this is my gift to you.” (Jn 14:27) Perhaps the most moving moment that exemplified this was when Benedict and Francis met at Castel Gandolfo and prayed together, sharing the silence of God’s presence as they knelt side by side.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"> What has struck me most, with all that’s been said and written these past few weeks, is that no one has mentioned the centrality of prayer, and of the prayer of silence, contemplative prayer, in the lives of these two extraordinary men. It seems strange particularly after what Pope Benedict said would be his main occupation in retirement: to pray for the Church and to accompany her in prayer. This above all has helped me to make sense of what is taking place in the Church today. It has also helped me calm my own anxieties about the Church, about the modern world, about life and what it’s all about, everything, in fact: living in the presence of God, being centered on Christ, opening one’s whole being to the grace of the Holy Spirit, in other words, the centrality and vital importance of contemplative prayer to the lives of all Christians, and especially of us monks.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"> What Pope Benedict taught us by his example was that liturgical prayer, the celebration of the sacraments, was more than a concentration on and an understanding of the texts, more even than entering into the mystery being celebrated, it was to be immersed in the profound silence of the heart of God, being taken up into the Godhead, as it were. What you sensed and experienced when he presided over any celebration was that he was in total communion with God, that he had already crossed the threshold and was living that new dimension, that new life of the Risen Lord. He somehow rose above and beyond the splendor and grandeur of the occasion and was in a state of contemplation. That surely is the model to follow, the model of Christ himself, who, though incarnate, was nevertheless in perfect communion and harmony with the Father and the Holy Spirit. As we recall our Baptism this Eastertide and our immersion into the Mystery of Christ, we pray that our own humble offerings at Divine Office and Conventual or Parish Mass may follow the same path forged for us by Pope Benedict.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgct2doP2P1hriwyB_jaXTffrTtEhUdgWMBM8PLOgvCI8j27fjlbs5bE3igAijN9Osp7ploi08FF7J8RRrBwttclWqi-o5VfSrc81srJVcUvCXtryALYJoTQ4Hj1675LCbmSBk_H4-42bq7/s1600/Pope_Francis_Benedict+at+prayer++295.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgct2doP2P1hriwyB_jaXTffrTtEhUdgWMBM8PLOgvCI8j27fjlbs5bE3igAijN9Osp7ploi08FF7J8RRrBwttclWqi-o5VfSrc81srJVcUvCXtryALYJoTQ4Hj1675LCbmSBk_H4-42bq7/s400/Pope_Francis_Benedict+at+prayer++295.jpg" width="400" /></a></span></div>
<br />
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"> Now I know that in many ways Pope Francis is very different, but the differences I feel are superficial and of little importance. Of course, they are what the media and his critics within the Church have already latched on to as though a bit of lace had the importance of the dogma of the Holy Trinity or that red Prada shoes were more important than the Incarnation. It’s the substance that matters, and what strikes me is that, in his simple Latin American way, Francis has that same spirit of contemplative prayer which he brings to each celebration and public occasion. Like Benedict, when he stands before the vast crowd of worshippers or the merely curious, he is completely focused on Christ and with him in communion with the Father through the indwelling of the Spirit. As we pray now for his pontificate and for the good of the Church and the salvation of all men, let us also pray that this spirit of silence and peace, of tenderness and respect, will also permeate our own Christian lives and our daily monastic prayer. I know it can be difficult as there are so many distractions, but even our distractions be contemplative and, above all, charitable and good humored. The important thing with distractions is to humbly accept and incorporate them into our prayer, turning them into prayer, and not rejecting them, thereby making them an issue with the devil himself and so asking for trouble.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: large;"> Thinking of our vocation as Benedictine monks, no matter what work we end up doing or the fact that we are often called upon to change the type of work we do and the place we do it in, we are not and cannot be identified by our work, as these positions are temporary, and, in any case, life moves on and we are soon gone. It is not what we do, no matter how important that may seem, that matters, but who we are and who we are truly called to be. St Therese of the Child Jesus discovered her vocation to be “love in the heart of the Church.” What, then, is our vocation? Going back to what I said about the Holy Fathers Benedict and Francis, I believe our vocation is to be exactly what our motto says, “Pax”, i.e. peace at the heart of the Church, “a peace that world cannot give”, Christ’s peace, which is the fruit of prayer, of inner stillness and of focusing on Christ alone amid a myriad temptations, distractions, good works, duties and everything else that makes up our daily life. People who come into contact with us should sense and enjoy and breathe in the peace of Christ. Our brethren should find in us men of peace and a source of their peace. Each one of us should discover in himself that “peace of Christ which surpasses all understanding”, that peace which will “keep our hearts and minds in the knowledge and love of God and of his Son, our Lord and Saviour, Jesus Christ.” (Phil 4:7) Amen.</span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><i>Conference given by Abbot Paul Stonham on 17th April 2013</i></span></div>
</div>
Anonymoushttp://www.blogger.com/profile/15536415371721057483noreply@blogger.com0tag:blogger.com,1999:blog-7831747494465516185.post-42870874598798975242013-04-17T02:54:00.000-07:002014-08-15T03:16:23.161-07:00A History of Art in Three Colours, by James Fox on BBC<div dir="ltr" style="text-align: left;" trbidi="on">
<div dir="ltr" style="text-align: left;" trbidi="on">
<div dir="ltr" style="text-align: left;" trbidi="on">
<div dir="ltr" style="text-align: left;" trbidi="on">
<div dir="ltr" style="text-align: left;" trbidi="on">
<span id="goog_1553489522"></span><span id="goog_1553489523"></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><b><br /></b></span></div>
<div style="text-align: justify;">
<i><span style="font-size: large;"> Today we reflect on how the colours gold, blue and white </span><span style="font-size: large;">have changed the world. The Historian James Fox examines and explains it to us with a lively eye for telling details. He argues, for example, that the concept of white changed from being a symbol of virtue and purity, to be a colour of revealing darkness of human instincts. This reflection is expressed in the 20th-century by the Italian dictator Mussolini and fascism.</span></i></div>
<div style="text-align: justify;">
<span style="font-size: large;"><i><br /></i></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><i><br /></i></span></div>
<div style="text-align: justify;">
<span style="font-size: large;"><i><br /></i></span></div>
<div style="text-align: justify;">
<i><span style="font-size: large;">The first colour is gold. We will see here how cultures like the ancient Egypt, Christian Rome, Bizantium, Renaissance Florence, 17th-century Saxony and 19th-century Birminham, conceived this colour as sacred. In iconography, gold is not just one colour, it contains all the colours, as the light does. It is considered a colour of eternity. </span><span style="text-align: justify;"> </span></i></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<div style="text-align: center;">
https://www.youtube.com/watch?v=Jx7BPLSt5aA&list=PLxFD-wxU4CoPSH0nJJkY4hBI_ertjzPul</div>
</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: left;">
<span style="font-size: large; text-align: justify;"><i>The second colour is blue. James Fox argues that this colour hardly existed in the early history of art. Ancient Greeks did not have a word for this colour. XI-century Venice experienced the arrival of a vivid blue in this city. It was considered a precious stone called "lapis lazuli" (stone of heaven).</i></span></div>
<i><span style="background-color: white; color: #444444; font-family: Georgia, 'Times New Roman', Times, serif; font-size: 14px; line-height: 21px;">
</span>
</i><br />
<div style="text-align: justify;">
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/h83jaUTBlX0?feature=player_embedded' frameborder='0'></iframe></div>
<br /></div>
</div>
</div>
<div style="text-align: justify;">
<i><br /></i></div>
<span style="font-size: large; text-align: justify;"><i>The third colour is white. As I said before, this fascinating and controversial colour has also change the world as we see it. </i></span><br />
<div style="text-align: justify;">
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/YYzLnyFjUVQ?feature=player_embedded' frameborder='0'></iframe></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/vtYBsBMKwvU?feature=player_embedded' frameborder='0'></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/RYXr64Thcqc?feature=player_embedded' frameborder='0'></iframe></div>
<div style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/wDzybvjqv64?feature=player_embedded' frameborder='0'></iframe></div>
<div style="text-align: center;">
<br /></div>
</div>
</div>
<div style="text-align: justify;">
<span style="color: #ffe599; font-size: x-large;"><br /></span>
<br />
<div class="MsoNormal">
<span style="color: #ffe599; font-family: Georgia, Times New Roman, serif; font-size: x-large;">This is an account on this subject that James Fox wrote on 25 July 2012 ( BBC)</span><br />
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;"><br /></span></span>
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;">Gold: the colour of divinity. Why do we cherish gold so much? Its value is essentially its colour, this glorious yellowness that never stops shining. It’s connected to the colour of the sun and in prehistoric cultures all around the world the sun was the most powerful divinity: the bringer of light and warmth to the world.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;">Ancient peoples didn’t just think gold looked like the sun; they believed it was materially the same thing. For the ancient Egyptians, gold, with its eternal shine, represented the afterlife, and the skin of the gods was supposed to be made of gold. That’s why it was used for Tutankhamun’s funerary mask (above). By covering yourself in this immortal substance, you would yourself become immortal.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;">In the Christian era, instead of immortality, gold represented divine light. Early Church artists used gold not because it was expensive, but simply because it looked miraculous. In the great Byzantine churches of the sixth century, before they could build really large windows, they could flood a building with light by using the reflective properties of gold mosaic. It’s also why all those Orthodox icons have gold backgrounds; in candlelight, they flicker as if filled with the light of God.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;">From around 1500, heaven lost its monopoly on gold. In the secular art of the Renaissance and the Baroque gold became a substance of display and a statement of earthly power.</span></span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;"><o:p></o:p></span></span><span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;">In the 19th century, the old dream of alchemy, of turning base metal into gold, was realised by the technique of electroplating mass-produced objects. Gold had, in effect, been democratised. Gustav Klimt’s shimmering The Kiss (1907-8) was an attempt to infuse love and sex with a sense of the sacred - but ultimately Klimt’s stand against commercialism failed. The Kiss is reproduced on mousemats and gold is now something we keep in bank vaults. If gold reflects the thing that every society holds most sacred, it seems the most important thing, for us, is money.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;">Blue: the last colour to be named<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;">Blue is my favourite colour. Yet it was the last major colour to get a name in any language – Homer didn’t have a word for it; he described the sea as wine-dark. Experts reckon the reason for this is that there are very few naturally occurring blue objects in the world. It is in itself a very evasive colour. And therefore in our minds it becomes the colour of escape.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;">In the Middle Ages, lapis lazuli, an intensely blue stone quarried from one mine in Afghanistan, was brought to the West by Arab traders. After many, many attempts, the Italians devised a recipe to turn this stone into the finest blue pigment Europe had ever seen and called it “ultramarine”, which was soon more expensive than gold. Colour laws were passed in the 13th century to stop people wearing blue because it was considered too special for worldly use.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;">Artists, of course, were alive to its transcendent qualities. Giotto’s Arena chapel in Padua (1305) has a ceiling covered in blue, with little gold stars, to represent heaven. And blue became this great, Christian colour: through much of European tradition, the Virgin Mary wore a blue robe.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;">By the time of Titian, blue was released from religious control. His Bacchus and Ariadne (1524) is a scene of secular paradise, with an incredible blue sky, plastered with the purest ultramarine ever found.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;">From about 1800, blue became the great symbol of Romantic longing, the colour of our internal world. For Picasso, in his Blue Period (above), it was the colour of despair. For Yves Klein, who patented the vibrant International Klein Blue, it was the colour of obsession (his widow claims his fatal heart attack, in 1962, was triggered by poisons in the pigment).<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;">There’s a lovely turning point to all this when, in 1968, photos from the Apollo 8 mission revealed Earth, viewed from space, as blue. All through the centuries we have thought of blue as the colour of escape from earthly things. But when we finally breach those horizons we find that blue is the colour of our own planet.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;">White: the darkest colour of all<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;">When we think of white, we think of the pure forms of antique sculpture. In fact, antique white is a fallacy; Greek marble was veiny and buttery; the Elgin Marbles in the British Museum (left) were “cleaned” to make them whiter in 1938.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;">In the 18th century, however, a German antiquarian and historian called JJ Winckelmann decreed that whiteness was the secret to the beauty of classical statuary. He probably knew that antique sculpture and architecture was originally covered in colour, but for him, white was the colour of reason and good taste and his ideas became very powerful.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;">As neoclassicism took hold, white became the colour of the modern Utopia. Soon, white classical buildings were cropping up everywhere. The White House in Washington and the Konigsplatz in Munich were grand civic buildings that bought into the notion of white as a symbol of unity and spiritual value.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;">American painter James McNeill Whistler’s Symphony in White, No 1 (1863) was an attempt to subvert the fashionable sentiment associated with the colour. Exhibiting his work 20 years later, he painted gallery walls white and put white frames round the pictures, creating, in effect, the first minimalist “white cube” gallery.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;">Marcel Duchamp also chose white to distance himself from the people. His famous urinal Fountain (1917) ridiculed traditional statuary and emphasised white’s sterile coldness. “I chose white,” he said, “because it’s too hard to like.”<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;">Le Corbusier, on the other hand, believed in the cleansing power of light. The great modernist architect believed that by painting walls white, he could wash the working classes better.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="font-size: large;">By the inauguration in 1940 of Mussolini’s Palazzo della Civilt Italiana – a monolith with marble statues of perfect Aryan Italians – racism was laced into the notion of purity. White may have offered a dream of a better world, but it ended the darkest colour of all.</span><o:p></o:p></span></div>
<div class="MsoNormal">
</div>
<br />
<br />
<br /></div>
</div>
Anonymoushttp://www.blogger.com/profile/15536415371721057483noreply@blogger.com0tag:blogger.com,1999:blog-7831747494465516185.post-49760390994194834762013-04-16T01:28:00.001-07:002013-04-16T03:58:46.884-07:00<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<h2 style="text-align: center;">
<span style="font-family: Verdana, sans-serif; font-size: x-large;">The History of the Mandylion of Edessa</span></h2>
<div class="MsoNormal" style="text-align: center;">
<span style="font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhRu5R7ThlDb0ll2lrTvniKkqItjPCCaQwrLQAE1l4Qg2VDdsG5QGKj7cDc_yOVSa-99DIP4NM1tdmXQFjjKNr4qAj5pSQc1JxxqTVc10k-IpYZvrLUc9ZUgvGDRZiyM8-Hz6go0wy1ejk/s1600/mandilion+Edessa++hcentury.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhRu5R7ThlDb0ll2lrTvniKkqItjPCCaQwrLQAE1l4Qg2VDdsG5QGKj7cDc_yOVSa-99DIP4NM1tdmXQFjjKNr4qAj5pSQc1JxxqTVc10k-IpYZvrLUc9ZUgvGDRZiyM8-Hz6go0wy1ejk/s320/mandilion+Edessa++hcentury.jpg" width="249" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<o:p><span style="font-size: large;"> </span></o:p><i><span style="color: #f1c232;"><span style="font-size: large;"> According to </span><span style="font-size: large;">Iconographic</span><span style="font-size: large;"> Tradition, King Abgar of Edessa wrote a letter to Jesus, asking him to come and cure him of an illness. This story is found in the History of the Church
(1.13.5-22) written by Eusebius of Caesarea who claimed that he had
transcribed and translated the actual letter in the Syriac chancery documents
of the king of Edessa. In this earliest account, Christ replies by letter,
saying that when he had completed his earthly mission and ascended, he would
send a disciple to heal Abgar. </span><span style="font-size: large;">The image </span><span style="font-size: large;">“not made by hands”,</span><span style="font-size: large;"> that Jesus sent to cure the king,</span><span style="font-size: large;"> was known later to the Byzantines as the Mandylion (“holy towel”). </span></span></i></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #ffd966; font-size: large;"><i><br /></i></span></div>
<div class="MsoNormal" style="text-align: justify;">
<i><span style="color: #f1c232; font-size: large;">I present two interesting texts: the first one is an excellent account of the "History of the image of Edessa", written by Professor Sebastian Brock, Oxford University. You will find here a connection he makes between the mandylion and Adai and his disciple Mari, later related to the "Anafora Adai and Mari" </span><span style="color: #ffd966; font-size: large;"><a href="http://www.jaas.org/edocs/v18n1/Sebastian%20Brock-mandili-Final.pdf">http://www.jaas.org/edocs/v18n1/Sebastian%20Brock-mandili-Final.pdf</a> </span></i><br />
<span style="font-size: large;"><i><span style="color: #f1c232;">The second text, here below, is a quick account on the image of Edessa, its journey and a brief analysis of the icon. Enjoy! </span></i></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal">
</div>
<h3 style="text-align: left;">
<b><span style="color: #ffe599; font-family: Verdana, sans-serif; font-size: large;">The Image of Edessa Revealed, by Joe Nickell</span></b></h3>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-size: large;"><br /></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-size: large;">The Legend<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-size: large;"><br /></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">The story of the Edessan Image is related in a
mid-fourth-century Syriac manuscript, <i>The Doctrine of Addai</i>. It
tells how King Abgar of Edessa (now Urfa in south-central Turkey), afflicted
with leprosy, sent a messenger named Ananias to deliver a letter to Jesus
requesting a cure. In the letter (according to a tenth-century report [qtd. in
Wilson 1979, 272–290]), Abgar sends “greetings to Jesus the Savior who has come
to light as a good physician in the city of Jerusalem” and who, he has heard,
“can make the blind see, the lame walk . . . heal those who are tortured by
chronic illnesses, and . . . raise the dead.” Abgar decided that Jesus either
is God himself or the Son of God, and so he entreats Jesus to “come to me and
cure me of my disease.” He notes that he has heard of the Jews’ plan to harm
Jesus and adds, “I have a very small city, but it is stately and will be
sufficient for us both to live in peace.”</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">Abgar, so the story goes, instructed Ananias that if he were
unable to persuade Jesus to return with him to Edessa, he was to bring back a
portrait instead. But while Ananias sat on a rock drawing the portrait, Jesus
summoned him, divining his mission and the fact of the letter Ananias carried.
After reading it, Jesus responded with a letter of his own, writing, “Blessed
are you, Abgar, in that you believed in me without having actually seen me.” Jesus
said that while he must fulfill his mission on earth, he would later send one
of his disciples to cure Abgar’s suffering and to “also provide your city with
a sufficient defense to keep all your enemies from taking it.” After entrusting
the letter to Ananias, “The Savior then washed his face in water, wiped off the
moisture that was left on the towel that was given to him, and in some divine
and inexpressible manner had his own likeness impressed on it.” Jesus gave
Ananias the towel to present to Abgar as “consolation” for his disease.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">Quite a different version of the story (see Wilson 1979,
277–278) holds that the image was impressed with Jesus’ bloody sweat during his
agony in the Garden of Gethsemane (Luke 22: 44). (This anticipates the still
later tradition of Veronica’s Veil, wherein Veronica, a woman from Jerusalem,
was so moved by Jesus’ struggling with his cross on the way to execution that
she wiped his face on her veil or kerchief, thus imprinting it with his bloody
sweat. Actually, the term <i>veronica</i> is simply a corruption of
the Latin words <i>vera iconica</i>, “true images” [Nickell 2007, 71–76].)
In this second version of the story, Jesus’ disciple Thomas held the cloth for
safekeeping until Jesus ascended to heaven, whereupon it was then sent to King
Abgar.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">Significantly, the earliest mention of the Abgar/Jesus correspondence—an account of circa ad 325 by Bishop Eusebius—<i>lacks any
mention of the holy image</i> (Nickell 1998, 45). Also, in one revealing
fourth-century text of <i>The Doctrine of Addai</i>, the image is
described not as of miraculous origin but merely as the work of Hannan
(Ananias), who “took and painted a portrait of Jesus in choice paints, and
brought it with him to his lord King Abgar” (qtd. in Wilson 1979, 130).</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">Historian Sir Steven Runciman has denounced all versions of
the legend as apocryphal: “It is easy to show that the story of Abgar and Jesus
as we now have it are untrue, that the letters contain phrases copied from the
gospels and are framed according to the dictates of later theology” (qtd. in
Sox 1978, 52).</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-size: large;">The Mandylion’s Journey<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">Nevertheless, Runciman adds, “that does not necessarily
invalidate the tradition on which the story was based ...” (qtd. in Sox 1978,
52). The best evidence in the case would be the image itself, but <i>which</i> image?
There have been several, each claimed to be the miraculous original. Obviously,
only one could be authentic, but does it even still exist?</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">The Mandylion has a gap in its provenance (or historical
record) of several centuries. It was reportedly transferred in 944 to
Constantinople, capital of the Byzantine Empire, along with the purported
letter from Jesus to King Abgar. The image may once have been incorporated into
a triptych of the tenth century. Its side panels, now reposing in the monastery
of Saint Catherine on Mount Sinai, illustrate the pious legend of Abgar
receiving the image. Interestingly, the panels portray Abgar as having the
features of Byzantine Emperor Constantine VII Porphyrogenitos.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">After the Venetians conquered Constantinople in 1204 during
the Fourth Crusade, the Mandylion was reportedly transferred to the West, where
its history becomes confused. Three traditions develop, each associated with a
different “original” of the image:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<ol start="1" style="margin-top: 0cm;" type="1">
<li class="MsoNormal" style="text-align: justify;"><span style="font-size: large;"><i>Parisian
Mandylion</i>. Allegedly obtained by Emperor Baldwin II and sold or
donated by him in 1247, this image was eventually acquired by King Louis
IX (1214–1270), who had it installed in the Sainte-Chapelle in Paris. It
was lost in 1792, apparently destroyed during the French Revolution
(“Mandylion” 2008; Wilson 1991, 129).</span></li>
</ol>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<ol start="1" style="margin-top: 0cm;" type="1">
<li class="MsoNormal" style="text-align: justify;"><i style="font-size: x-large;">Genoese
Mandylion</i><span style="font-size: large;">. Although this image reportedly can be traced back to the
tenth century, its verifiable history dates from 1362 when then Byzantine
Emperor John V donated it to Genoa’s Doge Leonardo Montaldo. After
Montaldo died in 1384, the Mandylion was bequeathed to the Genoese Church
of St. Bartholomew of the Armenians, arriving in 1388. It remains there,
displayed in a gilt-silver, enameled frame of the fourteenth-century
Palaeologan style. The image itself is on a cloth that has been glued to a
wooden board (“Mandylion” 2008; “Image” 2008; Wilson 1991, 113–114,
137–138).</span></li>
</ol>
<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<ol start="1" style="margin-top: 0cm;" type="1">
<li class="MsoNormal" style="text-align: justify;"><span style="font-size: large;"><i>Vatican
Mandylion</i>. This image has no certain history before the
sixteenth century, when it was known to be kept at the convent of San
Silvestro in Capito. In 1517, the nuns were reportedly forbidden to exhibit
it, so it would not compete with the church’s Veronica. And in 1587 it was
mentioned by one Cesare Baromio. In 1623 it received its silver frame,
donated by Sister Dionora Chiarucci. It remained at San Silvestro until
1870 when, during the war that completed the unification of Italy, Pope
Pius IX had it removed to the Vatican for safekeeping. Except when
traveling, it still reposes in the Vatican’s Matilda chapel (“Mandylion”
2008; “Image” 2008; Wilson 1991, 139–140).</span></li>
</ol>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">These are the three Edessan Mandylions that have been
claimed as original. Others—such as a seventeenth-century Mandylion icon in
Buckingham Palace in London, surrounded by painted panels (Wilson 1979,
111)—need not concern us here.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-size: large;">Image Analysis<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">The Vatican now concedes (in the words of the official
Vatican Splendors exhibit catalog [“Mandylion” 2008]) that “... the Mandylion
is no longer enveloped today by any legend of its origin as an image made
without the intervention of human hands....”</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">In the summer of 1996, the Vatican Museum’s chemistry and
painting restoration laboratory analyzed their Mandylion. It was taken out of
its baroque reliquary and removed from its silver-sheet frame (made in 1623).
Glued to a cedar support panel was the linen cloth on which the face of Christ
was clearly “painted,” although the non-destructive tests were insufficient to
specifically confirm that the painting medium was tempera.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">While “the thin layer of pigment showed no traces of
overpainting,” there were nonetheless “alterations in the execution of the
nose, mouth, and eyes” that were “observed in the x-rays and thermographic and
reflectographic photographs.” Specifically, the nose had once been shorter, “so
that the image originally must have had a different physiognomy” (“Mandylion”
2008, 57–58).</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">The museums’ scholars learned (according to “Mandylion”
2008, 56):</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">The version in the Vatican and the one in Genoa are almost
wholly identical in their representation, form, technique, and measurements.
Indeed, they must at some point in their history have crossed paths, for the
rivet holes that surround the Genoese image coincide with those that attach the
Vatican Mandylion to the cut-out sheet of silver that frames the image. ... So
this silver frame, or one like to it, must also have originally covered the panel
in Genoa.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-size: large;">Iconography<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">The Mandylion clearly has been copied and recopied, as if
the different versions were just so many “icons” (as they are now called). It
is not surprising that many of them appeared. According to Thomas Humber (1978,
92), “Soon the popular demand for more copies representing the ‘true likeness’
of Christ was such that selected artists were allowed or encouraged to make
duplications.” Indeed, “there was, conveniently, another tradition supporting
the copies: the Image could miraculously duplicate itself.”</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">Because icons were traditionally painted on wood, the fact
that both the Vatican and Genoese Mandylions are on linen suggests that each
was intended to be regarded as the original Edessan Image. That image was
described in the tenth-century account as “a moist secretion without coloring
or painter’s art,” an “impression” of Jesus’ face on “linen cloth” that—as is
the way of legend—“eventually became indestructible” (qtd. in Wilson 1979,
273).</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">While the original image appears lost to history, Ian Wilson
(1979, 119–121) goes so far as to argue that the Edessan Image has
survived—indeed, that it is nothing less than the Shroud of Turin, the alleged
burial cloth of Jesus! To the obvious rejoinder that the early Mandylions bore
only a facial image whereas the Turin “shroud” bears full length frontal and
dorsal images, Wilson argues that the latter may have been folded in such a way
as to exhibit only the face. Also there is an eighth-century account of King
Abgar receiving a cloth with the image of Jesus’ whole body (“Image” 2008).
Unfortunately, the Turin cloth has no provenance prior to the mid-fourteenth
century when—according to a later bishop’s report to the pope—an artist
confessed it was his handiwork. Indeed, the image is rendered in red ocher and
vermilion tempera paint—not as a positive image but as a negative one, as if it
were a bodily <i>imprint</i>. Moreover, the cloth has been radiocarbon
dated to the time of the forger’s confession (Nickell 1998). (Another
image-bearing shroud—of Besançon, France—did not come from Constantinople in
1204 as alleged but was clearly a sixteenth-century copy of the Turin fake
[Nickell 1998, 64].)</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;">The evidence is lacking, therefore, that any of these
figured cloths ever bore a “not-made-by-hands” image. Instead, they have
evolved from unlikely legend to Edessan portrait to self-duplicating Mandylions
to proliferating “Veronicas” to full-length body image—all supposedly of the
living Jesus—and thence to imaged “shrouds” with simulated frontal and dorsal
bodily imprints. Finally, modern science and scholarship have revealed the
truth about these pious deceptions.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-size: large;">References<o:p></o:p></span></b></div>
<ul style="margin-top: 0cm;" type="disc">
<li class="MsoNormal" style="text-align: justify;"><span style="color: #93c47d; font-size: large;">Humber,
Thomas. 1978. <i>The Sacred Shroud</i>. New York: Pocket Books.</span></li>
<li class="MsoNormal" style="text-align: justify;"><span style="color: #93c47d; font-size: large;">Image
of Edessa. 2008. From Wikipedia, available online, accessed
September 5, 2008.</span></li>
<li class="MsoNormal" style="text-align: justify;"><span style="color: #93c47d; font-size: large;">Mandylion
of Edessa. 2008. <i>Vatican Splendors: From Saint Peter’s Basilica,
The Vatican Museums and the Swiss Guard</i>. Vatican City State:
Governatorato, 55–58.</span></li>
<li class="MsoNormal" style="text-align: justify;"><span style="color: #93c47d; font-size: large;">Nickell,
Joe. 1998. <i>Inquest on the Shroud of Turin: Latest Scientific
Findings</i>. Amherst, N.Y.: Prometheus Books.</span></li>
<li class="MsoNormal" style="text-align: justify;"><span style="color: #93c47d; font-size: large;">Sox,
H. David. 1978. <i>File on the Shroud</i>. London: Coronet Books.</span></li>
<li class="MsoNormal" style="text-align: justify;"><span style="color: #93c47d; font-size: large;">Wilson,
Ian. 1979. <i>The Shroud of Turin: The Burial Cloth of Jesus Christ?</i> Revised
ed. Garden City, N.Y.: Image Books.</span></li>
<li class="MsoNormal" style="text-align: justify;"><span style="color: #93c47d; font-size: large;">—.
1991. <i>Holy Faces, Secret Places: An Amazing Quest for the Face of
Jesus</i>. New York: Doubleday.</span></li>
</ul>
<div>
<div class="MsoNormal">
<b><a href="http://www.csicop.org/sb/archive/category/sb_investigative_files">Investigative Files</a><o:p></o:p></b></div>
<div class="MsoNormal">
<b><i><a href="http://www.csicop.org/author/joenickell">Joe Nickell</a><o:p></o:p></i></b></div>
<div class="MsoNormal">
<b><a href="http://www.csicop.org/sb/archive/category/sb_19.2">Volume 19.2, June 2009</a></b></div>
</div>
<br /></div>
Anonymoushttp://www.blogger.com/profile/15536415371721057483noreply@blogger.com0tag:blogger.com,1999:blog-7831747494465516185.post-6854757421413500322013-04-15T02:44:00.002-07:002013-04-15T03:43:51.759-07:00Michelangelo: Life and Works<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both;">
</div>
<div class="separator" style="clear: both; text-align: justify;">
<br /></div>
<h4 style="text-align: justify;">
<i><span style="font-family: Verdana, sans-serif;">This is a high-resolution interactive view of the Sistine Chapel. The Vatican Museum has an excellent on-line site that will affect you intensely. You’ll be able to zoom in and see even more detail of the Creation of Adam, the Downfall of Adam and Eve, </span></i><i><span style="font-family: Verdana, sans-serif;">the Last Judgement,</span></i><i><span style="font-family: Verdana, sans-serif;"> or count the individual pieces in the mosaic floor. The site contains meditative music as you contemplate the images of the chapel’s paintings. If you have already visited the Sistine Chapel, it will bring you some good memories; if you did not, you have the opportunity to get a sense of the reality of this extraordinary masterpiece</span><span style="font-family: Georgia, Times New Roman, serif;">.</span></i></h4>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.vatican.va/various/cappelle/sistina_vr/index.html" style="text-align: start;"><span style="color: #a2c4c9; font-size: large;">http://www.vatican.va/various/cappelle/sistina_vr/index.html</span></a></div>
<div class="separator" style="clear: both;">
<br /></div>
<h4 style="text-align: justify;">
<i><span style="font-family: Verdana, sans-serif;">Moreover, you will also find here: a meditation on <span style="text-align: left;">Michelangelo’s Crucifix by A.W. Smith; quotes from Michelangelo, and finally some videos about his life.</span></span></i></h4>
<div class="separator" style="clear: both; text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: justify;">
<br /></div>
<h2>
<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Good Friday and Good Death: A Meditation on Michelangelo’s Crucifix by Andrew Wilson Smith</span></h2>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZIH27VIQm9LuS4S0ZAUenPYq0_VhkKG44jPfym0QjLjp9NValSKFDgLLdiWtVIZCyKGt5e9X5_eU55Sqr3kZfGb1HHJITIBMldELM-ZUDHg5JJplVVgPTxhPiYHWaPF8lQVyS2zqvQIWZ/s1600/Michaelangelo++Crocifisso-620x320.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZIH27VIQm9LuS4S0ZAUenPYq0_VhkKG44jPfym0QjLjp9NValSKFDgLLdiWtVIZCyKGt5e9X5_eU55Sqr3kZfGb1HHJITIBMldELM-ZUDHg5JJplVVgPTxhPiYHWaPF8lQVyS2zqvQIWZ/s320/Michaelangelo++Crocifisso-620x320.jpg" width="320" /></a></div>
<div class="separator" style="clear: both;">
<br /></div>
<div class="separator" style="clear: both;">
<br /></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"> As morbid as this may sound, one of the main functions of the Catholic Church is to teach us how to die. Death is the common lot of man—the great democratizing element in our lives. The only question that remains is whether or not it will be a good death. A good death is one that ushers us willingly and without remorse from the world we know into one that we comprehend only vaguely, as “through a glass darkly.” A good death is a death to attachment to objects or vices. A good death embraces its own suffering as purgation, fears not the coming judgment, and looks boldly forward to the promises of heaven and eternal bliss. A good death is a Christ-like death.</span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">The spiritual function of sacred art has always provided a parallel to the Church’s teachings. Sacred art illuminates our understanding of doctrine and tradition by providing a tangible metaphor. It is one thing to affirm that Jesus Christ died for our sins, but it is quite another thing to experience and witness that death, albeit second hand, through the vividness of a sculpture or painting. As Catholics, when we interact with great works of art, we should be both intellectually and emotionally aware, responding with wonder to the great mysteries of our Faith made tangible.</span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Through His crucifixion, Jesus teaches His Church the lesson of a good death. This is true of the artistic depiction of His sacrifice. Every time we enter a Catholic church, we are thrust into confrontation with the image of Our God hanging naked and abused on a cross of wood. This is the great truth of our religion, the core of our creed. It is right that this image forms the central focus point of our churches, for by the contemplation of this image we have the opportunity to model our behavior in imitation of Christ Jesus and prepare for eternity.</span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Any artistic interpretation of Christ’s crucifixion will encourage the contemplation of Our Lord’s purity, His poverty, and His suffering. We will take for our example the wooden polychrome corpus attributed to a young Michelangelo Buonarroti in the Basilica of Santa Maria del Santo Spirito, Florence. According to belief, it was carved in the year 1492 when Michelangelo was 17 years of age and living as a guest at the Augustinian Priory of Santo Spirito.</span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">The first characteristics evoked by this sixty-inch corpus are the innocence, purity, and virginal tenderness of the body of Christ. The eye rejoices in the sensuality of form and lingers over the subtle carving of flesh, bone, and tendon. This is not the commanding and physically powerful Jesus of Michelangelo’s mature work. It is almost a crucifixion of the Infant Jesus; a telescoping of the creed, portraying in one word the truth that Christ was born, has died, and will come again.</span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">The total nudity of Jesus in this depiction is accurate both to the Gospel accounts and to historical Roman practice, but more importantly this nakedness can be interpreted as a symbol of absolute poverty. We may forget from time to time that at the heart of Christ’s teaching is the radical rejection of the things of this world and the embrasure of a loving, generous poverty. The radical poverty preached in the Gospels is made manifest, in our Lord’s want of clothing at the hour of His death. He is the lily who neither toils nor spins, yet is more radiant in His nakedness than Solomon in all of his finery.</span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">The act of physically beholding the sculpture then shifts to an intellectual contemplation, a devotional exercise. It is then that the subtle distress and restrained agony evinced by the sculpture comes to life. The perfect symmetry of the arms and chest provide a stable center to the composition and gives force to the contrast as the head shifts in one direction and the lower body in another. There is just enough tension between the ribcage and the pelvis to cause a twinge in one’s own abdomen. The overlapping position of the legs carries our perturbation down to the feet, one placed on top of another and pierced by a single nail. Here all the weight of the body is concentrated in silent anguish.</span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Turning ultimately to the visage of Our Lord gives order and meaning to these observations and the feelings that have been elicited through this work of art. The face of Christ in this sculpture seems to accept the torment willingly and without regret. It is a portrait of pure love and devotion, inviting us to follow and take up our own crosses with similar countenances. The mind of Our Savior is already experiencing the bliss of heaven, and like the good thief, we need only believe in Him and follow Him in order to share in that bliss.</span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">In my own career as an artist, people often ask me when this or that sculpture will be finished. My answer tends to be something playfully smug like, “it’s done when I say it’s done.” The real answer, however, is that no work of art is ever really finished. This is the idea of the eternal potentiality of the artistic object. It might always be more than it is at any given moment depending on who is experiencing the work of art. A great theologian will draw out more intellectual depth from Michelangelo’s corpus, and a poet will experience the sculpture with more empathy and awe. The sculpture will continue to live and breathe in the eyes of its beholders until the last trumpet is sounded and it is thrown away like the straw that it is in comparison to the eternal reality of its Subject.</span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">This should also be our attitude in contemplating heavenly matters. At a certain point, the security guards of Santo Spirito will invite you to leave the sacristy where Michelangelo’s crucifix is displayed; but this should not stop the mind from contemplating this very crucifix for the rest of one’s life. There is always more to see—even in the mind’s eye—more facets of the truth to be uncovered. I would encourage all Catholics to maintain little sanctuaries of the mind where this kind of contemplation may occur. It may be a work of art like this one that we keep always available for veneration, or it may be a text or a particular song as well. If we think of our lives as a journey towards a good death, we should also remember that every pilgrim needs a shrine to help him along the way to the final Shrine.</span></div>
<br />
<div class="separator" style="clear: both; text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"></span></div>
<div class="separator" style="clear: both;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #f1c232;">Quotations from Michaelangelo</span></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Verdana, sans-serif; text-align: center;"><i><br /></i></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="text-align: center;"><span style="color: #b6d7a8; font-family: Georgia, Times New Roman, serif; font-size: large;"><i>If we have been pleased with life, we should not be displeased with death, since it comes from the hand of the same master.</i></span></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="text-align: center;"><span style="color: #b6d7a8; font-family: Georgia, Times New Roman, serif; font-size: large;"><i><br /></i></span></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="text-align: center;"><span style="color: #b6d7a8; font-family: Georgia, Times New Roman, serif; font-size: large;"><i>Many believe - and I believe - that I have been designated for this work by God. In spite of my old age, I do not want to give it up; I work out of love for God and I put all my hope in Him.</i></span></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="text-align: center;"><span style="color: #b6d7a8; font-family: Georgia, Times New Roman, serif; font-size: large;"><i><br /></i></span></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="text-align: center;"><span style="color: #b6d7a8; font-family: Georgia, Times New Roman, serif; font-size: large;"><i>The best artist has that thought alone which is contained within the marble shell; The sculptor's hand can only break the spell to free the figures slumbering in the stone.</i></span></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="text-align: center;"><span style="color: #b6d7a8; font-family: Georgia, Times New Roman, serif; font-size: large;"><i><br /></i></span></span></div>
<div class="separator" style="clear: both;">
<i><span style="color: #b6d7a8; font-family: Georgia, Times New Roman, serif; font-size: large; text-align: center;"></span></i></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="color: #b6d7a8; font-family: Georgia, Times New Roman, serif; font-size: large;"><i>The greater danger for most of us lies not in setting our aim too high and falling short; but in setting our aim too low, and achieving our mark.</i></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="color: #b6d7a8; font-family: Georgia, Times New Roman, serif; font-size: large;"><i><br /></i></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="color: #b6d7a8; font-family: Georgia, Times New Roman, serif; font-size: large;"><i>Trifles make perfection, but perfection is no trifle.</i></span></div>
<div class="separator" style="clear: both; text-align: justify;">
</div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="color: #b6d7a8; font-family: Georgia, Times New Roman, serif; font-size: large;"><i><br /></i></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="color: #b6d7a8; font-family: Georgia, Times New Roman, serif; font-size: large;"><i>From such a gentle thing, from such a fountain of all delight, my every pain is born.</i></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="color: #b6d7a8; font-family: Georgia, Times New Roman, serif; font-size: large;"><i><br /></i></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="color: #b6d7a8; font-family: Georgia, Times New Roman, serif; font-size: large;"><i>A beautiful thing never gives so much pain as does failing to hear and see it.</i></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="color: #b6d7a8; font-family: Georgia, Times New Roman, serif; font-size: large;"><i><br /></i></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="color: #b6d7a8; font-family: Georgia, Times New Roman, serif; font-size: large;"><i>I saw the angel in the marble and carved until I set him free.</i></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="color: #b6d7a8; font-family: Georgia, Times New Roman, serif; font-size: large;"><i><br /></i></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="color: #b6d7a8; font-family: Georgia, Times New Roman, serif; font-size: large;"><i>Good painting is the kind that looks like sculpture.</i></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="color: #b6d7a8; font-family: Georgia, Times New Roman, serif; font-size: large;"><i><br /></i></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="color: #b6d7a8; font-family: Georgia, Times New Roman, serif; font-size: large;"><i>I am a poor man and of little worth, who is labouring in that art that God has given me in order to extend my life as long as possible.</i></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="color: #b6d7a8; font-family: Georgia, Times New Roman, serif; font-size: large;"><i><br /></i></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="color: #b6d7a8; font-family: Georgia, Times New Roman, serif; font-size: large;"><i>Every beauty which is seen here by persons of perception resembles more than anything else that celestial source from which we all are come.</i></span></div>
<br />
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div style="text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: center;">
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/gZe0AXBvDtA?feature=player_embedded' frameborder='0'></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://img.youtube.com/vi/9lPL7U8h_ig/0.jpg" height="266" width="320"><param name="movie" value="http://youtube.googleapis.com/v/9lPL7U8h_ig&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="http://youtube.googleapis.com/v/9lPL7U8h_ig&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"></span></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/-N4INxLPO5c?feature=player_embedded' frameborder='0'></iframe></span></div>
<div style="text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/6De9SFc2jhU?feature=player_embedded' frameborder='0'></iframe></span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
Anonymoushttp://www.blogger.com/profile/15536415371721057483noreply@blogger.com0tag:blogger.com,1999:blog-7831747494465516185.post-48637386827549012922013-04-14T04:15:00.003-07:002013-04-14T04:15:34.179-07:00THE HISTORY OF THE ICON THE VLADIMIR MOTHER OF GOD (Fishnet Conference of OSC)<br />
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsvh5WB4oXCgGL5-OI6XtLM8iBD6XW-GIfNxDUS1iWjfjUXxCAx6MIv5lOrZwHVg2GPjQ_4muBHCnUSADobX26kb8X-9sXUaTalsifPTV3ys3SFPhiIvXDD8a8wpcufjE1dEGtOstpt9ag/s1600/vladimir+_250x250.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsvh5WB4oXCgGL5-OI6XtLM8iBD6XW-GIfNxDUS1iWjfjUXxCAx6MIv5lOrZwHVg2GPjQ_4muBHCnUSADobX26kb8X-9sXUaTalsifPTV3ys3SFPhiIvXDD8a8wpcufjE1dEGtOstpt9ag/s400/vladimir+_250x250.jpg" width="246" /></a></div>
<span style="font-family: inherit; font-size: large; line-height: 150%;"><br /></span></div>
<h2 style="text-align: center;">
<span style="font-family: inherit; font-size: large; line-height: 150%;">The History of the Icon the Vladimir Mother of God</span></h2>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">The city of
Vladimir (from which the icon takes its name) is located on the Klyazma [two
syllables] River, about 100 miles East of Moscow. It's one of Russia's most
ancient cities. ("Vladi" means "He who possesses/owns";
"mir" (in this instance) means "the world." Hence,
Owner/King/Ruler of The World. In very much the same that Vladivostok means "The
Lord of the East.") Not so coincidentally, Vladimir is also the name of
the first Grand Prince of Kiev, who embraced Christianity in the 10th century.
Christianity spread to the other areas of what would eventually become The
Russias "from" Kiev—at that time, however, everything outside Kiev's
scope within the Slavic world was nothing but a backwater. Not even provincial
backwaters. Just backwaters.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">About 1250 or
so, Southern Russia, now known as Ukraine (note the absence of
"the"—Ukrainians "despise" the usage "The
Ukraine"). was invaded by what the West termed "The Golden
Horde," but which was, in fact, nothing more than a "reconnaissance
in force" by some major elements of Genghis Khan's army, under the
direction and generalship of Subodai, perhaps the greatest military mind in
recorded history, though rarely accorded anything approaching that status. He
accomplished what more famous generals like Alexander, Caesar, Napoleon and the
like did not.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">This
"Golden Horde" was, of course, the Tatar race. (Be aware that there
is a difference between "Tatar" and "Tartar.") The Tatars
seized and burnt Kiev in 1240, and after that the city of Vladimir became for
some period one of the main cultural centers of Russia, along with Novgorod,
another of those ancient cities. In fact, it was the destruction of Ukraine by
Subodai that made it "possible" for Russia to rise, else she would
surely have been absorbed into the Ukrainian Grand Duchy.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">The icon itself
is Greek in origin, beyond any doubt whatever. A pious popular belief in Russia
has attributed it to the brush of St. Luke the Evangelist, but it was n fact
most probably "written" (one "writes" an icon, one does not
"paint" it!) at the beginning of the 12th Century, patterned on a
very traditional type of Marian Iconography. The pattern itself "is"
considered (by historians and scholars, in fact) to have derived from an icon
Tradition claims was painted by Luke Himself, who, as Paul's personal
physician, had ample opportunity to spend time with Mary when Paul visited with
John in Ephesus, from whence Mary was Assumed.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">The name of the
artist who "wrote" the Icon of Vladimir isn't known, but it clearly
belongs to that period of Byzantine art known as "The Macedonian
Renaissance." The icon was offered as a gift to the Russian Prince George
Dolgoruky in 1155 by the Patriarch of Constantinople, Luke Chrysoberges; it was
placed by the Prince in the Convent of Vyshgorod, near Kiev.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">The Mother of
God conceded many extraordinary favours to those of the faithful who came before
her to pray at this icon, and it soon became an object of very intense
devotion. From then on, the icon became so intimately connected with the life
of the Russian people that the Chronicles faithfully recorded every time it was
moved from one place to another. In fact, there is no single great event in the
history of Russian from the 12th to the 17th Century in which the icon of the
Mother of God of Vladimir did not play its vital part.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">Later on, the
icon was bequeathed by Prince George to his son, Andrew Bogoliubsky (Andrew,
the God-Lover). Andrew carried it to Vladimir, and in 1160 placed it in the
Cathedral of the Assumption which he had had built for that purpose. From then
on this icon would be called "The Vladimir Icon of the Mother of
God." In 1164 the same Prince Andrew carried it at the head of his armies
when he marched against the Bulgari (Bulgarians) on the Volga (they were just
then moving into Europe, ahead of the Tatars) while his soldiers sang "He
who places his hope in you, Mother of God, will never perish." He also
gave the icon its covering of gold, silver and precious stones.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">On 13 April
1185 a raging fire destroyed the Cathedral, but the icon remained miraculously
intact. When they occupied Vladimir, the Tatars stole the precious covering
from the icon, but left the icon itself intact and unharmed.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">In 1395 the
Tatar chief, Tamerlane, who had already destroyed several towns in Southern
Russia, was approaching Moscow with his forces. In a deep spirit of faith the
Grand Duke Basil I had the icon transferred from Vladimir to Moscow on the Feast
of the Assumption and placed in the Cathedral in the Kremlin built in honor of
that feast. Tamerlane halted his armies, and Moscow was saved. Since that time
the miraculous icon has been kept in Moscow, the new capital of Russia.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">On three other
occasions, in 1451, 1459 and 1480, the Tatars again menaced Moscow. But the
citizenry besought the intercession of their blessed Mother, venerating her
miraculous image. The city was preserved. As a sign of gratitude for their
deliverance on three occasions, a feast in honor of the Vladimir Mother of God
was designated to be celebrated on the days of May 21, June 23 and August 26.
On these days the icon was carried in procession to the convent of the
Presentation in Moscow.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">During the
processions the good and devout Christians of Moscow sang the following
'troparion' (a series of verses printed as a single prose sentence, but divided
into rhythmic clauses):<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">"Today the
glorious city of Moscow brightly shines because it receives, like the dawn of
the sun, O Lady, your miraculous icon. And we, now coming before it in prayer,
implore you, O wonderful Lady, Mother of God: Pray Christ Our God, who through
you became Man, to keep this city, every city and all Christian lands safe from
the attacks of their enemies, and to save our souls, for He is merciful."<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">During the
succeeding centuries, each time the city was menaced by foreign armies the
Muscovites again had recourse to their faithful Protectress.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">On September 2,
1812, on the eve of the occupation of Moscow by Napoleon's troops, the icon was
temporarily carried back to Vladimir. On October 20 it was returned to Moscow
to its customary place at the left side (facing it) of the iconostasis (Greek.
Lit.—"Icon Stand" "Icon Holder") in the Cathedral of the
Assumption in the Kremlin. So prominent was the Vladimir icon in the religious
lives of the Russian people that little by little it became customary for the
Russian tsars to be crowned before the icon. And in the centuries when the
Russian Church was ruled by a Metropolitan or a Patriarch (since 1452, the Fall
of Constantinople, from which time dates the Russian doctrine of "The
Third Rome," upgrading its Metropolitanate to a Patriarchate—pretty
unilaterally, in fact; a condition which has been maintained since)—each time a
new prelate was about to be elected the names of the candidates were inserted
inside the frame within the icon was kept.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">The original
size of the icon was 30-3/4 inches high by 21-1/2 inches wide. In the course of
time, however, by adding new wood to the margins on all four sides, the icon
was enlarged by 10 inches in height and by 5-1/2 inches in width. At various
times in its history it was altered also by the addition of fresh gesso and
paint; this was done to protect against the elements an icon which was often
carried in processions outside the church. Several Russian rulers engaged the
services of the leading painters of their day to perform this delicate task.
However, it is interesting to note that when in 1919 Professor G.O. Chirikov
scraped off the different layers which had been added to refresh the original,
he found that only one small area had remained quite untouched. The faces of
Our Lady and the Holy Child, the greater part of his left hand and part of the
right arm, almost entirely covered by the garment, were the only parts which
were discovered to have reached us in almost perfect condition from the ancient
Byzantine original. During the many restorations this part of the icon was
never touched with new gesso, and had been only refreshed with new paint, laid
lightly and immediately over the surface of the old olive oil, and fixed again
with a fresh oiling. It is wonderful to think that while every century from the
13th to the 20th has left its traces on this icon the most sacred part and the
center of the composition have been preserved from the original work of a
devout by unknown Byzantine painter; the tender, loving expressions of the
Mother and Child.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">One substantial
reason for "retouching" this icon was that through the centuries it
was periodically overlaid with pure gold and precious stones. More than once
the metal and stones were ripped off by plundering soldiers. Since the faces
and the hands were never covered with metal, they were not exposed to the same
rough treatment.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">At the
beginning of the 20th century the value of the icon's decorative cover of pure
gold and precious gems was estimated to be about $50,000.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">In 1917 came
the Revolution. In 1919 the Communists then in control of the government stole
the precious covering, took the Icon from the Cathedral of the Assumption and
hung it in the Tretiakov Gallery, a museum of Russian painting, which is
located quite close to the Kremlin. Shortly thereafter the Cathedral was
closed; later it was itself turned into a museum.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">This removal of
the venerated icon announced the religious persecution which was to follow:
profanation of churches; violence against the clergy; prohibition of any public
expression of faith or manifestation of piety, especially teaching of religion
to anyone under 18 years of age. This transfer of Russia's most beloved icon
from a Church to a museum symbolizes the total secularization of public life
and the atheistic propaganda which Russia was to know for more than 70 years.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">Understanding
An Icon<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">Paintings are
sometimes divided into those that are "realistic" and those that are
"idealistic." It is "realistic" if it attempts to reproduce
nature as it is, even to the point that, seeing the portrait of the person, I
believe I actually see "him", so much does the portrait resemble him.
Opposed to this type of painting is the "idealistic", in which the
painter tries to evoke a definite reaction by emphasizing certain
characteristics within the subject. Some seek humorous reaction, some even try
to provoke anger. The icon painter seeks to arouse in the beholder a spirit of
"prayer" above all. It is neither a portrait nor a work of art. It is
a prayer—and a way of presenting the Catechism of the Church.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">Most of the
icons have been painted in monasteries or in forest hermitages. Before painting
("writing") them, the monks prepared first of all a sufficiently
thick piece of birch or pine, they indented the surface at the spot where the
image would be placed, the edges themselves forming the frame. This board was then
coated with a thick glue, mixed with plaster and alabaster dust. (Russians call
this mixture, "Levka.")<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">When the
material had been prepared, after fasting and prayer, the artist traced the
outlines of the subject he was going to pain. For this purpose he not only
followed the inspiration of his imagination, but he first of all used patterns
fixed by the rigorous traditions of the Church. On a plain background, free of
any ornamentation which could distract the attention of the pious beholder, and
without trying to express a third dimension in depth, he presented a
spiritualized being.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">The finished
icon was then solemnly blessed by the priest according to the ritual of the
Byzantine Church. After that blessing it became for the faithful something
quite different from what it was in the workshop of the painter—it became the
object of special veneration because of its connection with the Saint it
represented; it was extended a special respect which could be compared to the
respect the faithful have had at all times for the relics of the saints.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">Thus, while
often in the Western world saccharine and sentimental works expressing sweet
and human beauty with almost photographic exactitude have been too long in
favor, artists (mostly monks and ascetics) in the Byzantine world developed a
truly Christian art that really addresses the spirit through the senses.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">The icon gives
us a glimpse of the supersensible world which should be the goal of every
Christian soul, making the eternal somewhat clearer and more definite. It helps
us to approach in spirit the prototype which communicates its being to the
icon. It reveals what it represents. For this reason an icon is considered not
so much a "picture" as a "presence," a "window into
heaven," through which the light of heaven can flood out upon a darksome
world, and through which even the hungriest of sinners can grasp at the tassels
of the cloak of the Lord and beg his healing.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">The icon is
really what Western theology calls a "sacramental," i.e., "a
sign of which Mother church makes use in some partial imitation of the
Sacraments, to raise the heart and mind to God, and enhance our awareness of
His Eternal Presence and Eternal Caring and Healing Love."<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">Icons In
Russian Life<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">Because of her
desire to promote an idealistic and spiritualized art, the Eastern Church has
always preferred paintings to statues. And not only "paintings" (in
the sense of paint), but of pictures made with stones..."mosaics.")<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">In the Eighth
Century the Iconoclast Heresy tried to deny Christians the right to venerate
icons. The Iconoclasts were condemned at the Second Council of Nicaea in 787,
the 7th Ecumenical Council, and after that period we witness a phenomenon which
would become frequent in the life of the Church: the Christian people of the East
began to express more vigorously in their life the truth which they had
defended. In the Byzantine Christian world the churches were filled with icons.
In all these churches a screen was built separating the sanctuary from the
nave. It was covered with icons and called, therefore, the
"iconostasis" (pronounced "ico-no-stasis"). At each main
feast of the year an icon representing the mystery to be celebrated is placed,
even now, in the "middle of the Church," i.e., on a small altar
before the Iconostasis called the "Tetrapod"—i.e., "having four
feet"—and surrounded with flowers and candles, and incensed many times
during the services. The faithful then kiss it reverently. Besides their
pectoral crosses, bishops of the Byzantine Church also wear a large medallion
(called the "encolpion") with the icon of the Mother of God in the
middle. In fact, it is not the pectoral cross which is the sign of the bishop
in the East—since every priest is entitled to wear a pectoral cross—but the
Encolpion, which no priest is permitted to wear without Episcopal Consecration.
Not even a "Mitred Archpriest."<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">The icon even
penetrated the intimacy of family life. It is a tradition in devout Russian
families that before the marriage ceremony, the parents of the bride bless her with
an icon, generally an icon of the Virgin. That icon, carried by a boy, precedes
the bride in the procession which leads her to the church for the marriage
ceremony. Afterwards, that icon is placed in a special place of honor in the
home, usually in its "krasnyj oogol" (red/beautiful) corner, also
called at times the "icon corner." I have one in my house—many here
on Ecunet have seen it. It's not grandiose, just intimate.... A small vigil
lamp, burning day and night, hangs before the icon. Other icons often surround
the main icon, and every pious visitor entering the house would visit the icon
corner, venerate the icons, bowing before them and proclaiming his faith in the
Risen Lord by blessing Himself threefold, even before greeting the members of
the family—for an icon corner in a Russian house means that Christ rules here
and is head of the house. A visit to Mary "is" a visit to Christ, for
where you find the Son, you will find also the Mother, as you did throughout
her life.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">With that
"same" icon, the parents would one day bless their son as he left
them to study at the university, perhaps, or to do his military service, or to
take up arms in the frequent wars inflicted on Russia over the centuries.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">The Icon Of
Loving Kindness<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">One of the
reasons why the Vladimir Mother of God became so popular is, of course, its
exceptional beauty. It belongs to that class of icons called
"loving-kindness" because it depicts the mutual loving-kindness of
the Mother and her Child. In contrast to other icons in which the divinity of
the Child-God and the majesty of the Mother are primarily emphasized, I find
this icon a particularly moving expression of human tenderness and feeling.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">The Virgin has
her head covered with a veil in the manner of Oriental women. This veil, dark
in color (to signify her humility), by its contrasting hue, brings out the
brightness of the Child's garment.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">On her forehead
is an exquisite star (suggesting nobility of thought), and that same star is
shown again over her heart.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">The black veil
which is drawn down to her eyebrows covers her entire head, even her forehead.
With its gold-edged border falling symmetrically on either side, it forms a
kind of halo and, by contrast, brings out all the delicate features of her
face.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">The raised
eyebrows, together with the curve of the nose and the motionless gaze of the
dark eyes directed into space, lend to the face of Our Lady an expression of
sorrowful concentration. It seems as if the corners of the mouth were slightly
lowered, intensifying he impression of sorrow, whereas the shadow thrown by the
lashes onto the eyes renders the pupils still darker and more misty, making
them fall back into a depth inaccessible to direct contemplation.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">Her hand
scarcely touch the infant. They seem also to have been immobilized by the
thought which absorbs her so completely, adding still more to the effect of
intense concentration and sorrow.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">The Divine
Child, on the contrary, is represented with a lively, tender movement; in
pressing His face against His Mother's cheek, He appears to be offering her
solace, knowing, as He does, her hidden sorrow. His face is brighter than hers,
showing that He wants to give her hope. But she, apparently paying little heed
to her Child's caress, stares into the distance with deep human feeling. Her
gaze is inwardly turned, not to the human child, but to the Maker of the World,
born of her. She bends towards the infant, seeking within Him mercy for those
who come to Him, and sheltering them with her intercourse.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">There is no
weakness in the figure of the Child but only the strength, the dignity and the
majesty of the God-Made-Man. The upper part of His body is portrayed more
slenderly than the lower, which may have been enlarged when the extra boards
were added for extra width. (The same is true of the veil. While the face of
Mary on this icon is certainly the original, the veil (or "maphori"),
seems to be a little too large for the face; in the 13th century the veil was
enlarged to fit in with a slight enlargement of the whole icon.)<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">The Holy Child,
His left hand slipped behind His Mother's head, clasps her neck and presses His
left cheek to her right cheek; nearing His lips to hers, He stretches His right
hand to her left shoulder in order to embrace and to kiss His Mother. His right
hand shows a certain strength and power. The purple and gold-colored garment of
the Child indicates His Majesty and Royalty. The artistry of the shadows and
the hatching (the inlaying with fine lines) all give the garment something very
akin to a sheen.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">It is
impossible to discover all the richness of this icon at its first glance; one
needs to contemplate it....long and "often". It possesses the
characteristic of all true and beautiful icons....one never tires of it, so
rich is the painting, so harmonious and delicate, so uplifting to the soul.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">Meditation
Before The Madonna<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">In their
humility the icon painters never signed their works. The pious, anonymous
monks, who, ten centuries ago in Greece painted this Madonna who would later
become so intimately connected with the life of the Russian people, expressed
in her face, a serene sorrow which no other painter would ever depict so
sorrowfully again.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">Of what was the
Blessed Mother thinking, in the artist's mind? Whence comes her sorrow? To
speak of the suffering Christ endured in Calvary would not be enough. The Risen
Christ no longer suffers. Those sufferings which are past would not justify the
painter in depicting Our Lady in the present. But, in His Mystical Body, which
is the extension of His Being throughout space and time, Christ continues to
suffer. She, who during the Passion was called upon to stand aside while His
physical body was torn down through the centuries, has had to witness the
tearing also of His Mystical Body too. Heresies and schisms, apostasies and
betrayals, all have separated member from member. And those who have divided
the Body of Christ have sinned and must repent. And those who would maintain
the division have sinned. And must repent. And those who would seek to pretend
to a unity that does not exist by sanctioning all divergences from the One
Teaching of Christ have sinned, and continue to sin. And must repent. She is
sad and sorrowful because the Body of Christ still suffers, still is torn,
still is rent, like the Veil in the Temple, from top to bottom. And all have
sinned.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">The Silent
Church<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">The Vladimir
Mother of God, taken away by force from her devout faithful, enclosed in a
museum in the middle of secular paintings, symbolizes first of all the immense
suffering of the Silent Church—those Churches in all those countries which
suffered under the Crosses laid upon them at the insistence and threat of the
Soviet government.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">A hundred years
ago, the major problem for Christians was to send missionaries to the countries
of Asia, Africa, the Sub-Continent of India, where Christ had never been known,
or only by the few. Today the Gospel has been preached everywhere, but the
problem now is to "keep" Christ and His church known and loved, not
only in all those countries raped while under the Communist yoke, but those
who, free of that yoke, sullied and soiled themselves in the excess of
self-will and cowardly selfishness.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">In Russia,
where once there were thousands of churches, there now stand very few; and the
few priests who remain are still not truly free to instruct. Minds are deceived
in ways very different from the ways in which they are deceived here—and those
in Russia are prevented from hearing the Voice of Christ; there prevented by
force majeur, here by willing deafness. Until very recently all public defense
or teaching of religion was banned in Russia, and even now no calumny or lie is
spared to divert from Christ those who would heed the Word of the Church. While
tens of "millions" of anti-religious books have been published, at
the expense of the state, not a single catechism has been printed there for 75
years.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">Could not
Catholics from all over the world try to thwart the violence of those who
battle to prevent the Voice of Christ being heard by taking, in some way, the
place of those who are not able any longer to venerate the Vladimir Mother of
God... "publicly"? Can fathers and mothers, teachers in our Catholic
schools, find any more suitable religious art to educate the artistic and
religious tastes of our children.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">That icon, hung
in all our churches, in all our Catholic homes, would remind us every day of
the sufferings of believers everywhere, but particularly in Russia, many of
whom still go to the Tretiakov Gallery, not so much to see the Icon of the
Madonna, but to "venerate" discreetly their imprisoned Madonna....<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">Disunited Christianity<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">The liberation
of Russia and the existence of religious freedom in that country would still
not remove the great "second" sorrow of the Church so intensely
expressed on the face of the Madonna of Vladimir. It is a fact that the
Vladimir Mother of God is one of the most beautiful representations of the
Virgin the world possesses. It is no less artistic than the paintings of Fra
Angelico and Raphaello—and perhaps still greater. Yet, strange as it may seem,
the Western world is largely oblivious of its presence, as it is of so very
many other things.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">Part of the
ignorance has been that the Soviet Government literally imprisoned the icon.
But the greatest sin is borne, not by Communists, nor their government, but by
Christians, who have allowed themselves to grow estranged, estranged even to
the point of hostility, and often of downright enmity.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">Pope John
XXIII, who lived for many years among us Eastern Christians, chose as the first
aim of his pontificate, the reconciliation of the Churches of the East with the
Church of Rome. And in the Council itself, that particular purpose became more
intensively than ever before, the purpose of the "whole" Catholic
Church, Eastern and Roman alike.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">One of the most
visible things which Eastern and Western Catholics and Orthodox still share is
their love of Our Lady. John XXIII, speaking to the Armenian Catholic Church on
February 1, 1959, said that the best assurance of reconciliation between
Catholics and Orthodox "is" our common love of our common mother,
uncommon in this, that in addition to being our Mother, she "is" the
"Mother of God," the "Theotokos."<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">A Prayer To The
Virgin Of Vladimir<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">Mary, Queen of
Heaven<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">We honor your
icon, before which the Russian people pray.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">We beg of you,
to look with favor and motherly care<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">On that great
nation and to lead it to faith and friendship with us all.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">We are blessed
to have your Russian image<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">In a place of
honor.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">We pray to you,
and work with you, for the full liberation of Russia<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">And for the
peace of the whole world.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">And for the
forgiveness of the sins of all those of us<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: large;">Who have so
terribly riven the Body of Christ.<o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="color: #ffd966; font-family: Georgia, Times New Roman, serif;"><b>Source: Fishnet Conference of OSC. <o:p></o:p></b></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="color: #ffd966; font-family: Georgia, Times New Roman, serif;"><b>Eternal Word
Television Network<o:p></o:p></b></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="color: #ffd966; font-family: Georgia, Times New Roman, serif;"><b>5817 Old Leeds
Road<o:p></o:p></b></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="color: #ffd966; font-family: Georgia, Times New Roman, serif;"><b>Irondale, AL
35210<o:p></o:p></b></span></div>
</div>
<div class="MsoNoSpacing" style="line-height: 150%; tab-stops: 439.45pt; text-align: justify;">
<div style="text-align: justify;">
<span style="color: #ffd966; font-family: Georgia, Times New Roman, serif;"><b>www.ewtn.com</b></span><span style="font-family: Bookman Old Style, serif;"><o:p></o:p></span></div>
</div>
Anonymoushttp://www.blogger.com/profile/15536415371721057483noreply@blogger.com0