Akathist-To-Our-Lady-Of-Sitka-1
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Church Bulletin Russian Orthodox Church “St
“КРАСНОЕ СОЛНЫШКО” “SUNSHINE” CHURCH BULLETIN RUSSIAN ORTHODOX CHURCH “ST. VLADIMIR”, HOUSTON DECEMBER 2009 The most pure Temple of the Savior, The precious Chamber and Virgin, The sacred Treasure of the glory of God, Is presented today to the house of the Lord. She brings with her the grace of the Spirit, Which the angels of God do praise. Truly this woman is the Abode of Heaven! Kontakion in Tone 4 The Entry into the Temple of the Most-holy Theotokos "When the Most-holy Virgin Mary reached the age of three, her holy parents Joachim and Anna took her from Nazareth to Jerusalem to dedicate her to the service of God according to their earlier promise. It was a three-day journey from Nazareth to Jerusalem but, traveling to do a God-pleasing work, this journey was not difficult for them. Many kinsmen of Joachim and Anna gathered in Jerusalem to take part in this event, at which the invisible angels of God were also present. Leading the procession into the Temple were virgins with lighted tapers in their hands, then the Most-holy Virgin, led on one side by her father and on the other side by her mother. The virgin was clad in vesture of royal magnificence and adornments as was befitting the ``King's daughter, the Bride of God'' (Psalm 45:13-15). Following them were many kinsmen and friends, all with lighted tapers. Fifteen steps led up to the Temple. Joachim and Anna lifted the Virgin onto the first step, then she ran quickly to the top herself, where she was met by the High Priest Zacharias, who was to be the father of St. -
This Content Downloaded from 132.174.254.159 on Tue, 08 Dec
This content downloaded from 132.174.254.159 on Tue, 08 Dec 2015 11:09:27 UTC All use subject to JSTOR Terms and Conditions LETTERS FROM HEAVEN: POPULAR RELIGION IN RUSSIA AND UKRAINE This content downloaded from 132.174.254.159 on Tue, 08 Dec 2015 11:09:27 UTC All use subject to JSTOR Terms and Conditions This page intentionally left blank This content downloaded from 132.174.254.159 on Tue, 08 Dec 2015 11:09:27 UTC All use subject to JSTOR Terms and Conditions Edited by JOHNPAUL HIMKA and ANDRIY ZAYARNYUK Letters from Heaven Popular Religion in Russia and Ukraine UNIVERSITY OF TORONTO PRESS Toronto Buffalo London This content downloaded from 132.174.254.159 on Tue, 08 Dec 2015 11:09:27 UTC All use subject to JSTOR Terms and Conditions www.utppublishing.com © University of Toronto Press Incorporated 2006 Toronto Buffalo London Printed in Canada ISBN13: 9780802091482 ISBN10: 0802091482 Printed on acidfree paper Library and Archives Canada Cataloguing in Publication Letters from heaven : popular religion in Russia and Ukraine / edited by John•Paul Himka and Andriy Zayarnyuk. ISBN13: 9780802091482 ISBN10: 0802091482 1. Russia – Religion – History. 2. Ukraine – Religion – History. 3. Religion and culture – Russia (Federation) – History. 4. Religion and culture – Ukraine – History. 5. Eastern Orthodox Church – Russia (Federation) – History. 6. Eastern Orthodox Church – Ukraine – History. I. Himka, John•Paul, 1949– II. Zayarnyuk, Andriy, 1975– BX485.L48 2006 281.9 947 C20069037116 University of Toronto Press acknowledges the financial assistance to its publishing program of the Canada Council for the Arts and the Ontario Arts Council. -
Iconografia Prebizantina Bizantina E Postbizantina
For.D Iconografia Prebizantina Bizantina e Postbizantina Pasqua 2009 In copertina: Icona copta XIII° sec. Monastero di Santa Caterina Sinai Iconografia bizantina e postbizantina INDICE INDICE ...................................................................................................................................... 3 Introduzione....................................................................................................... 7 Come era percepita l’immagine nell’antichità ................................................. 10 Breve storia della contesa iconoclasta ............................................................. 11 Conseguenze della contesa iconoclasta sull’arte bizantina .............................. 15 Ingresso della fede ortodossa nel mondo slavo ............................................... 16 IL VOLTO DI CRISTO .......................................................................................... 19 Introduzione .................................................................................................. 21 Le contese cristologiche dei primi secoli ....................................................... 22 Le prime immagini preiconoclaste................................................................. 23 Le immagini posticonoclaste ......................................................................... 35 L’immagine di Cristo detto ‘Pantocrator’ ...................................................... 36 L’immagine di Cristo detta ‘Acheropoieta’ o ‘Non Dipinta da Mano Umana’ 44 L’immagine di -
Attributing the Zvenigorodsky Chin
DISCOVERIES Attributing the Zvenigorodsky Chin Levon Nersesyan talks with Oxana Golovko Translated by Vera Winn Artistic Technique were moving backward and forward. Note: On June 26, In the latter case, the final image 2017, the State Levon, tell us how you discovered rarely corresponds with the prepara- Tretyakov Gallery in Moscow held a that the Zvenigorodsky Chin was tory drawings, and there are quite a press conference on not painted by Andrei Rublev. few corrections even in the prepara- the authorship of the tory drawing itself. It is obvious that Zvenigorodskiy Chin, a A difference in painting technique the first master was accustomed to famous depiction of the Deisis (suppli- between the Zvenigorodsky Chin and working out all the details clearly and cation) featuring the the Holy Trinity is clearly visible with- neatly from the very beginning, while Archangel Michael, out the use of any scientific devices, the second created a rough sketch Christ, and St. Paul. but before we drew any conclusions, and then modified the form of the im- This triptych was long attributed to the it was necessary to analyze the tech- age in the process of painting. 14th–15th century niques used as accurately and ob- iconographer Andrei jectively as possible, and only then Careful microscopic examination and Rublev, but scientists to compare the objects visually. We microphotography of the paintings and restorers now be- lieve the icons were followed a universal, internation- enabled us to clarify the number and painted by a different ally recognized method of extensive sequence of paint layers. These tech- hand, or possibly by analysis. -
Prolog (Round Two)1
Appendix 2: Prolog (round two)1 Note on the genre: A famous writer once said that all happy families are alike, whereas the miseries of unhappy ones are diverse. This observation also holds true for saints’ lives. (I have tried to present a diverse selection, but you must have noticed patterns.) Another comparison may be made to iconography: proper icons do not contain superfluous information. Even unnecessary details in the background distract from the main subject - the serene faces; whereas the disproportionate anatomy, so shocking to the unaccustomed eye, is of no consequence. Likewise, if a person displayed his faith in martyrdom, the details of his previous life are immaterial. The focus of the narrative is entirely on what is pertinent and the seeming exaggerations do not deter from this, they underline it. If the words spoken during a passionate trial seem scripted and unbelievable, remember: the ancients had no knowledge of quotation marks and the text simply conveys the essence of what transpired. These people were subjected to experiences that we cannot imagine - this we readily believe; so to give us some idea of that experience, the writer uses imagery that we cannot easily imagine. Moreover, if a thousand people are tortured is it not evident that the bodies of a few will display marvelous tenacity? And is it not “marvelous” to see a man or woman fearless of death, when you, the ancient writer, have countless times watched criminals running away from soldiers and beasts at the local arena? Prolog contains about a thousand short martyrological vitas that closely follow the same pattern; these form the core of the book. -
Framing the Holy: Revetments on Late Byzantine Icons
Framing the Holy: Revetments on Late Byzantine Icons by Elizabeth Yoder Moss A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Art University of Toronto © Copyright by Elizabeth Yoder Moss 2016 Framing the Holy: Revetments on Late Byzantine Icons Elizabeth Yoder Moss Doctor of Philosophy Graduate Department of Art University of Toronto 2016 Abstract This study examines icon revetments produced during the late Byzantine period (1261–1453), situating them within the diversity of mixed-media, multisensory, and multivalent devotional images that combined personal piety with conspicuous consumption and the public spectacle of lavish patronage. These works are evidence of the “ornamental turn”—a paradigm shift marked by the increase of ornament on visual works that mediated wealth, spiritual devotion, and social power. Revetted icons do not make arguments about the faithful representation of prototypes; they make arguments about faithful veneration. Beginning with a historiographic study of ornament, the thesis examines how the ornamental vocabulary on revetments manifests relationships between specific decorated icons. Indices of ornament motifs and a catalogue of surviving icon revetments and frames from the eleventh through fifteenth centuries constitute the appendices. In chapter 2, I argue that the previously unstudied decorated strips added to the icon of the Mother of God Hodegetria in Ohrid were part of a larger project aimed at legitimizing Serbian emperor Stefan Uroš IV Dušan (r. 1331–55) and his archbishop Nicholas in Ohrid. They structured their leadership in the Balkans on their contemporaries in Constantinople. In chapter 3, I present a new reading of the dedicatory prayers inscribed on the icon of the Mother of God in Freising. -
The Icon of the Pochayiv Mother of God: a Sacred Relic Between East and West
The Icon of the Pochayiv Mother of God: A Sacred Relic between East and West Franklin Sciacca Hamilton College Clinton, New York Introduction There are myriad icons of the Mother of God that are designated as “miracle-working” (chudotvornyi in Ukrainian and Russian) in the Orthodox and Catholic lands of Eastern Europe. Thaumaturgic powers are often ascribed to the icon itself and therefore such panels are venerated with particular devotion. Pilgrims seek physical contact with these objects. From the lands of medieval Kievan Rus’, there are four surviving icons with Byzantine pedigree that achieved “miracle- working” status as early as the 11th c.: The Vladimir icon (known in Ukrainian tradition as Vyshhorod, after the location of the convent north of Kiev where it was originally kept); the Kievo-Pechersk icon of the Dormition; the Kholm icon (attributed to Evangelist Luke); and the so-called Black Madonna of Częstochowa (originally housed in Belz, and for the last 600 years in the Jasna Gora monastery in Poland). All of them are surrounded by complex folkloric legends of origin and accounts of miraculous interventions. In later centuries, numerous other wonder-working icons appeared in Ukrainian, Belarusian, Russian, Polish, Balkan lands, Figure 1: Pochayiv Mother Of among which is a relative late-comer (known from the late 16th c.)--The icon God in Dormition Cathedral, of the Mother and Child that was venerated at the Pochayiv monastery in Western Pochayiv Lavra. Ukraine. This small, originally domestic, icon achieved significant cult status throughout Eastern Europe, both in Orthodox and Catholic milieus. This article seeks to examine the origin of the icon in the context of the development of the monastery whose reputation was built as its repository. -
The Art of the Oklad Wendy Salmond Chapman University, [email protected]
Chapman University Chapman University Digital Commons Art Faculty Articles and Research Art Fall 1996 The Art of the Oklad Wendy Salmond Chapman University, [email protected] Follow this and additional works at: http://digitalcommons.chapman.edu/art_articles Recommended Citation Salmond, Wendy. "The Art of the Oklad." The Post 3.2 (1996): 5-16. Print. This Article is brought to you for free and open access by the Art at Chapman University Digital Commons. It has been accepted for inclusion in Art Faculty Articles and Research by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. The Art of the Oklad Comments This article was originally published in The Post by the Hillwood Museum, volume 3, issue 2, in 1996. Copyright Hillwood Museum This article is available at Chapman University Digital Commons: http://digitalcommons.chapman.edu/art_articles/82 ~ AUTUMN 5 n 1904 a team of restorers A similar story could be told embarked on preserving the of countless other oklads that I celebrated icon of the Old once a dorned Russian icons Testament Trinity, which had but were removed in the 20th been painted by Andrei Rublev century in response to a mod- between 1422 and 1427.l The ern aesthetic that saw the .---lhe- 'Po7f- project, initiated by the noted painted icon as a work of art, collector Ilya Ostroukhov, the metal oklad as merely a 3cz.. ) involved removing layers of dirt vulgar display of wealth. --Au,~MV\ \qq~ and olifa (linseed oil), and the Today, it requires an act of if :1 THE ART OF THE OKLAD f• ·I by Dr. -
Modernism and the Spiritual in Russian Art New Perspectives
Modernism and the Spiritual in Russian Art New Perspectives EDITED BY LOUISE HARDIMAN AND NICOLA KOZICHAROW To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/609 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Modernism and the Spiritual in Russian Art New Perspectives Edited by Louise Hardiman and Nicola Kozicharow https://www.openbookpublishers.com © 2017 Louise Hardiman and Nicola Kozicharow. Copyright of each chapter is maintained by the author. This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Louise Hardiman and Nicola Kozicharow, Modernism and the Spiritual in Russian Art: New Perspectives. Cambridge, UK: Open Book Publishers, 2017, https://doi.org/10.11647/OBP.0115 In order to access detailed and updated information on the license, please visit https://www.openbookpublishers.com/product/609#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available at https://www.openbookpublishers.com/product/609#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. -
The Hospitality of Abraham in the Work of Julia Stankova, Painter of Bulgarian Icons
THE JOURNAL OF ICON STUDIES VOLUME 2 | 2019 The Hospitality of Abraham in the Work of Julia Stankova, Painter of Bulgarian Icons François Bœspflug Translated by Jordan Daniel Wood Recommended Citation: François Boespflug, Jordan Daniel Wood (translator), “The Hospitality of Abraham in the Work of Julia Stankova, Painter of Bulgarian Icons,” Journal of Icons Studies 2 (2019) https://doi.org/10.36391/JIS2/004 Available at https://www.museumofrussianicons.org/hospitality-of-abraham/ Published by Museum of Russian Icons: https://www.museumofrussianicons.org/ Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ISSN: 2473-7275 1 ©JOURNAL OF ICON STUDIES François Bœspflug The Hospitality of Abraham in the Work of Julia Stankova, Painter of Bulgarian Icons Translated by Jordan Daniel Wood Abstract This article seeks to make the work of the Bulgarian icon painter Julia Stankova better known to readers. It does so first by presenting her person, her trajectory, and her iconographical work. Then it offers an overview of her reflection on the relationships between the Bible and the icon. Finally, it analyzes a dozen icons that she has produced over the past twenty years on the theme of the Hospitality of Abraham as recounted in Genesis 18. Keywords: Old Testament Trinity, Julia Stankova, Hospitality of Abraham After centuries of oblivion or misapprehension, Eastern Christian art, especially the art of the icon, was the object of a veritable rediscovery in the West during the twentieth century.1 This rediscovery unfolded in several stages. The first was the shock felt in Russia upon the cleaning of Andrei Rublev’s icon of the Old Testament Trinity in 1905 and the removal of its riza (met- al cover). -
St. Michael's Cathedral) Is in the Center of the Business District of Sitka, Alaska, the Town Which Was the Capital of Russian America from 1808 to 1867
NPS Form 10-900 OMB No. 1024-0018 Expires 10-31-87 United States Department of the Interior National Park Service For NPS UM only National Register of Historic Places received Inventory Nomination Form date entered See instructions in How to Complete National Register Forms Type all entries complete applicable sections________________ 1. Name historic Cathedral of St. Michael the Archangel and or common St. Michael Cathedral 2. Location street & number Lincoln and Maksoutof f Streets not for publication city, town Sitka . vicinity of Alaska 02 Sitka Division 220 state code county code 3. Classification Category Ownership Status Present Use district public X occupied agriculture museum X bulldlng(s) X private unoccupied __ commercial park structure both __ work in progress educational __ private residence __ site Public Acquisition Accessible __ entertainment JL religious object in process X yes: restricted __ government scientific _^ _ b.eing considered . yes: unrestricted industrial __ transportation no __ military __ other: 4. Owner of Property name Orthodox Church in America c/o Diocese of Sitka and Alaska street & number BOX 697 city, town Sitka . vicinity of state Alaska 5. Location of Legal Description courthouse, registry of deeds, etc. Borough Recorder street & number City and Borough of Sitka city, town Sitka, state Alaska 6. Representation in Existing Surveys See Continuation Sheet title has this property been determined eligible? x yes no date . federal state county local depository for survey records city, town state 7. Description Condition Check one Check one X excellent __ deteriorated unaltered x original site good ruins X altered moved date __ fair unexposed Describe the present and original (if known) physical appearance The Cathedral of St. -
“Hands Off That Sacred Image!” the Vladimir Icon and Its Power
“Hands off That Sacred Image!” The Vladimir Icon and Its Power Maria Sergeevna Bakatkina Department of Slavic Languages and Literature University of Virginia April 2017 2 Content Introduction ……………………………………………………………………………. 3 Chapter 1. The Vladimir Icon and Its Restorations …………………….………...…… 8 Chapter 2. A Journey of a Single Image through the History of Russia ...…………… 26 Chapter 3. The Reflection of the Vladimir Icon in Visual Arts ....………………….…47 Conclusion ………………………………………………………………………….… 75 List of Images ……………………………………………………………….………... 76 Bibliography ……………………………………………………………….…………. 78 3 «Страшная история России вся прошла перед Твоим Лицом» - М. Волошин1 On December 4th, 1998, a Russian avant-garde artist, Avdei Ter-Ogan’ian, made a performance called The Young Atheist (“Юный безбожник”) as a part of the exhibition at Moscow Manege. His performance included three icons, the Vladimir icon, Spas Nerukotvornyi, and Pantocrator (Spas Vsederzhatel’), and a poster with the following words: Dear connoisseurs of contemporary art, here you can get a wonderful source for blasphemy. Spas Nerukotvornyi - 200 rubles; the Vladimir icon - 150 rubles; Spas Vsederzhatel’- 120 rubles. The gallery offers you the following services: Desecration of the icon purchased by young infidels - 50 rubles; You can desecrate the icon personally under the guidance of young atheists - 20 rubles; You can get advice for desecrating icons at home - 10 rubles.2 Nobody volunteered, and the artist began to cut the icons with an axe (fig. 1). After the performance the criminal case was initiated against the artist on charges of inciting religious hatred.3 To avoid punishment Ter-Ogan’ian fled to the Czech Republic, and in 2010 the case was closed due to the expiration of the statute of limitations.