DOCSLIB.ORG

Iconography Terms Compiled by Nicholas Roumas, Worcester Polytechnic Institute Nick Beinor, Boston College Edited by Raoul Smith, Phd, Museum of Russian Icons

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Iconography Terms Compiled by Nicholas Roumas, Worcester Polytechnic Institute Nick Beinor, Boston College Edited by Raoul Smith, Phd, Museum of Russian Icons Iconography Terms Compiled by Nicholas Roumas, Worcester Polytechnic Institute Nick Beinor, Boston College Edited by Raoul Smith, PhD, Museum of Russian Icons A weeks surrounding the Feast of the read and sermons are delivered. In Annunciation. In Imperial Russia, older times, the ambo was located in acheiropoieic The “image not many popular paraliturgical hymns the center of the nave and was used made with human hands”. The on various subjects were written, for displaying relics and for special miraculously imprinted face of using form of the original Akathist ceremonies on feast days such as the Christ upon cloth. as their basis. These hymns are also Exaltation of the Cross. Adoptionism An early heresy that known as “akathists.” Many icons amethyst (аметист) A purple variety taught that Jesus was not divine until depict the text of a related akathist in of quartz. He was adopted as God’s Son, either border scenes. amice A white vestment which is at His baptism or Resurrection. alabaster (алебастровый) fastened over just the shoulders of a Adoration of the Magi The worship alb (стихарь) A long, white, liturgical priest by two ribbons. of the Christ Child by visiting pagan vestment used in the Western rite. amictus (мантияthe) Ancient noblemen from the East; a common alexandrite Green gemstone that is Roman term used for draped, outer iconographic subject. prized for its ability to drastically vestments. aediculа (крошечныйхрам) An change colors when exposed to amulet (амулетan) Object intended opening at the top of a metal icon light. to bring the wearer good luck or used as a crest. alkanet root The root of the alkanet aer (возбухъ) A veil used for covering plant used to attain a red dye. the paten and chalice. alloy (сплав) agate (агат) almandine (альмандин) An iron-like agraffe A hook on one side of a gemstone, the red variety of garnet. vestment that corresponds to a loop alpaca An alloy of copper, zinc, on the other which is used to fasten nickel, and silver. the clothing. Altar The sacred table located in the afterfeast A continuing celebration apse of a church or the entire area of a feast for several days after the behind the Iconostasis. feast day, until the leave-taking of altar cloth (завесаалтарная) the feast. aluminium (алюминий) Agnets (Агнец, from Lat. Agnus, amber (янтарь) “lamb”) The piece of Eucharistic ambo (амвон, Gk. for “step”) An bread placed on the paten, to be elevated platform in front of the consecrated. It corresponds to the Altar. From the ambo, the Gospel is image of the Lamb of God in the Alb Book of Revelation. akakia (акакиа) A purple pouch carried by the Byzantine Emperor containing soil from a grave, intended to symbolize the ephemeral nature of life. akathist (Акафист, Gk. for “without sitting”) Originally, a long hymn composed by St. Romanos the Melodist in the 6th century in honor of the Mother of God. The congregation remains standing throughout the duration of the hymn, which is sung during the Aer Amice MUSEUM OF RUSSIAN ICONS 1 August 2015 protection. It could take the form of into Hell and the subsequent a scripture passage related to the a crucifix or any medallion. “raising” of humanity. celebration of the Eucharist. analav See paraman. anchorite (затворник; анахорет, Gk. apocalypse (апокалипсис, Gk. for analogion (аналой, Gk. for “reading for “one who has withdrawn”) A “revelation”) Genre of literature, stand”) A stand on which icons or hermit monk. often apocryphal, on the subject of sacred books are placed in church Ancient of Days Icon type depicting the End-times; esp. the Apocalypse for veneration or reading. the pre-incarnate Christ as an old of John. analoy Lectern man. The image derives from apocryphon (апокрнф, Gk. for analoynaya ikona Lectern icon, Daniel 7. something “hidden” or “secret”) also known as a proskynesis icon. Angelic Orders The hierarchy of A pseudo-scriptural Christian An icon that is displayed on the heavenly powers, consisting of or Jewish book not traditionally lectern or on an easel in front of Cherubim, Seraphim, Thrones, recognized as canonical. Apocryphal an iconostasis during the period of Dominions, Virtues, Authorities, literature forms the basis of or celebration of an important liturgical Principalities, Archangels and influences many iconographic feast and which has as its theme an Angels. scenes, including the Birth of the image pertaining to that feast. Angel of Great Counsel (Ангел Mother of God, the Entry of the Anapeson (ὁ Ἀναπεσών, “He Who is Великого Совета) Epithet for the Mother of God in the Temple, the reclining”) Icon type depicting the future king prophecied by Isaiah, Annunciation, the Descent into Christ Child asleep, suggesting His interpreted to be Jesus Christ. Hades and the Dormition. future death. Annunciation (Благовещение) The apophatic theology A mode of anastasis (from Greek “raising up”). Archangel Gabriel’s announcement speaking about God by only The icon depicting Christ’s Descent to Mary that she would bear the declaring what He is not. In Son of God and His conception Orthodox theology, this is the in her womb. This event is only fully correct way to speak celebrated as one of the Twelve about God. Great Feasts, on March 25. There apophthegmata The collected sayings are four iconographic variants of of the Desert Fathers. the Annunciation: Ann. With Yarn, Apostle 1. One of the disciples Ann. By the Spring, the Child in the of Jesus who saw Him after Womb and Ann. with a Book. His Resurrection. 2. Any great anthemion Decorative symmetrical missionary. floral pattern. Apostles, Princes of the Peter and antimension (антиминсa) Paul. Rectangular piece of cloth placed apse (апсида, Gk. for “arch”) The on the altar which is decorated with externally protruding recess in the depictions of the entombment of east wall of the church building. The Christ, the four Evangelists, and Altar is located in front of the apse. Amictus Archangel An order of bodiless power, among whom are traditionally numbered Michael, Gabriel, Raphael, Uriel, Salathiel, Jegudiel, Barachiel and Jeremiel. archetype The pattern image that serves as the basis from which an iconographer designs his own paintings. archimandrite (архимандрит, Gk. for “chief of the monastery”) The Father Superior of a large monastery or several monasteries. In modern times, the title is often strictly honorary. Antimension Asterisk MUSEUM OF RUSSIAN ICONS 2 August 2015 architrave (архитрав) Moldings that auripigment A golden-yellow blackening (чернение) frame rectangular openings. pigment, used in painting clothing blue (синий, голубои) argyrokentema (ἀργυροκέντημα, and background. bochka (бочка) Russian for barrel, “silver stitching”) Silk thread with azurite (лазурь) A dark blue gemstone referring to an arched crest shape on thin strips of silver foil loosely similar to lapis lazuli. an icon. wound around it such that the Bogolyubskaya of Moscow Icon colored core is visible. See also B type depicting the Mother of God chrysokentema. standing full-figure with a scroll in background (фоне) Arianism 4th-6th century heresy her hand. It originates with a vision bagor (багор) A dark red color made propagated by and Alexandrian seen by Andrei Bogolyubsky, Prince from the Murex mollusk, often used priest named Arius. The heresy of Vladimir-Suzdal (d. 1174). to paint the maphorion of the Mother denied that Christ is divine in the Bogoroditsa (Богородица, “birth- of God and the clothing of certain same sense as God the Father. giver of God”) Epithet for the saints. artel An association of workshops of a Virgin, usually translated “Mother of bagryanitsa (багряница) Attribute particular trade, similar to a guild. God.” Dogmatically, the title asserts of the Mother of God whereby she Ascension (Вознесение) The return the hypostatic union of the divine is shown weaving the veil of the to heaven of the risen Jesus and and human natures into one Person. Temple from purple thread in icons His enthronement at the right hand bone (кость) Usually, bone would be of the Annunciation and the Entry of of God the Father. This event is used as a substitute to ivory as it was the Mother of God into the Temple. celebrated as one of the Twelve more readily accessible. bakan (бакан) A dull organic reddish- Great Feasts, forty days after bone black A natural pigment made brown color used for painting Pascha. from scorched boned or ivory. decorative details on clothing and askesis Lit. “training.” The struggle red lettering. of a person to grow in holiness, esp. basma Ornamental repousse metal applied to monastics. plating on the border of an icon, assemblage (монтировка) Forming used since the 16th century. an art piece by using odd bits of beads (бисер) cloth, metal, or other material. beaker (стакан) assist Fine crosshatching of gold begunets (бегунец) An architectural and white, used in iconography to ornament on top of a wall, consisting provide the effect of light emanating of triangular insets. from the saints. beheading (усекновение) The asterisk (звёздочка) A cross-shaped beheading of John the Baptist, a day arch placed on top of the diskos of strict fasting. to keep the veil and aer which are bema (вима, Gk. for “platform; placed over it from touching the judgment seat”) The area in the bread. eastern end of the church building assumption (успение) The bodily Bevel behind the Iconostasis, also called entry a saint into heaven. The the Sanctuary, where which the assumptions of the Mother of Altar, prothesis and diaconicon God and of Elijah are common are located. The Bema is usually iconographic subjects. elevated from the floor level. It Athos, Mount The center of Greek corresponds to the chancel of a and Byzantine monasticism and a Western church. historically important center of icon berlinskaya lazur (берлинская painting. Also simply called “The лазурь) Prussian blue.
Load more

Recommended publications
  • Days That Remember: Feasts, Memory and Faith
    Days that Remember: Feasts, Memory and Faith “I remembered God and was glad.” – Psalm 76:4 (SAAS) “It goes so fast. We don’t have time to look at one another … Do any human beings ever realize life while they live it—every, every minute?” – Thornton Wilder, Our Town, Act III page 12 PRAXIS w Winter 2017 FASTS AND FEASTS DR. NICOLE ROCCAS ive in the present! It’s a panacea for stress that resounds from virtually all corners of our culture. Yet anyone who has tried to put this advice into practice finds the Ltask all but impossible. Even if we manage to still the distrac- tions of our minds, the present is inconceivably finite, a point recognized long before modernity. “That which may be called present,” wrote St. Augustine in the late fourth century, “flies so rapidly from future to past, that it cannot be extended” (Confessions, 11.15). Furthermore, neurological research in- dicates our perceptions are a fraction of a second behind the true present, because the brain requires time to process sensory information. As much as we may want to live in the present, it seems we are forever looking back on it. Even in the Church, it is difficult to dwell in the present. It is hard enough to merely notice every feast that goes by, let alone make it a meaningful part of our lives. Thanks be to God, the ecclesiastical calendar accounts for DAYS THAT REMEMBER this reality. Much of the liturgical year happens in the wake of time—the track left behind by the feast days themselves.
    [Show full text]
  • Divine Liturgy
    THE DIVINE LITURGY OF OUR FATHER AMONG THE SAINTS JOHN CHRYSOSTOM H QEIA LEITOURGIA TOU EN AGIOIS PATROS HMWN IWANNOU TOU CRUSOSTOMOU St Andrew’s Orthodox Press SYDNEY 2005 First published 1996 by Greek Orthodox Archdiocese of Australia 242 Cleveland Street Redfern NSW 2016 Australia Reprinted with revisions and additions 1999 Reprinted with further revisions and additions 2005 Reprinted 2011 Copyright © 1996 Greek Orthodox Archdiocese of Australia This work is subject to copyright. Apart from any use permitted under the Copyright Act 1968, no part may in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) be reproduced, stored in a retrieval system or transmitted without prior written permission from the publisher. Enquiries should be addressed to the publisher. National Library of Australia Cataloguing-in-Publication Data The divine liturgy of our father among the saints John Chrysostom = I theia leitourgia tou en agiois patros imon Ioannou tou Chrysostomou. ISBN 0 646 44791 2. 1. Orthodox Eastern Church. Liturgy of St. John Chrysostom. 2. Orthodox Eastern Church. Prayer-books and devotions. 3. Prayers. I. Greek Orthodox Archdiocese of Australia. 242.8019 Typeset in 11/12 point Garamond and 10/11 point SymbolGreek II (Linguist’s Software) CONTENTS Preface vii The Divine Liturgy 1 ïH Qeiva Leitourgiva Conclusion of Orthros 115 Tevlo" tou' ÒOrqrou Dismissal Hymns of the Resurrection 121 ÆApolutivkia ÆAnastavsima Dismissal Hymns of the Major Feasts 127 ÆApolutivkia tou' Dwdekaovrtou Other Hymns 137 Diavforoi ÓUmnoi Preparation for Holy Communion 141 Eujcai; pro; th'" Qeiva" Koinwniva" Thanksgiving after Holy Communion 151 Eujcaristiva meta; th;n Qeivan Koinwnivan Blessing of Loaves 165 ÆAkolouqiva th'" ÆArtoklasiva" Memorial Service 177 ÆAkolouqiva ejpi; Mnhmosuvnw/ v PREFACE The Divine Liturgy in English translation is published with the blessing of His Eminence Archbishop Stylianos of Australia.
    [Show full text]
  • Khrystos Rozhdajetsia! Slavimo Yoho! Christ Is Baptized!
    ‘ NATIVITY OF THE BLESSED VIRGIN UPCOMING BIRTHDAYS (January): Kathleen Marinich (10), Nancy Ratai (22), His Eminence Metropolitan Antony (30) ORTHODOX CHURCH READER’S LIST: Mike Ratai (1/17), Andy Olear (1/24), Andrei Marinich (1/31) UKRAINIAN ORTHODOX CHURCH OF THE USA 416 Delmore Avenue • South Plainfield, New Jersey 07080 THEOPHANY: The Great Blessing of Water in observance of the feast of the Phone: 908-400-7099 Church Hall: 908-561-6366 Theophany will take place today after Liturgy. Website: www.nbvoc.orthodoxws.com Pastor: Rev. Fr. Vasyl Pasakas BLESSING OF HOMES: It is the tradition of Orthodox Christians to have their homes blessed following the Feast of the Theophany, please speak to Fr. Vasyl after Liturgy to ________________________________________________________ arrange a date and time for your home to be blessed this year. 10 January 2021 31st Sunday after Pentecost FREE 2021 CALENDARS are available for pick up in the Church Hall. Sunday after Theophany Afterfeast of the Theophany SUPPORT YOUR PARISH! Support your parish financially by utilizing the HELP St. Dometian, Bishop of Melitene and/or BUILDING FUND envelopes in your weekly donations to cover parish bills: Fall Leaf Clean up ($750), Silver Creek Hedge Trimming ($225), fire inspection ($281), St. Marcian, Presbyter, of Constantinople snow plowing ($300), snow plowing, landscaping, and church insurance. Ven. Paul, Abbot of Obnora Epistle: Ephesians 4:7-13 Tone: Tone 6 & Menaion COFFEE HOUR: Please sign up for a future coffee hour after Divine Liturgy. Please Titus 2:11-14; 3:4-7 keep in mind social distancing and safe food handling while enjoying coffee hour with fellow parishioners.
    [Show full text]
  • THO 3347 (H 2015) – Glossary of Terms
    THO 3347 (H 2015) – Glossary of Terms Akathist Literally, “not standing.” A hymn dedicated to our Lord, the Theotokos, a saint, or a holy event. Aposticha The stichera sung with psalm verses at the end of Vespers and Matins. These differ from the stichera at Psalm 140 (Vespers) and at the Praise Psalms (Matins), which are sung with fixed psalms, in that the psalm verses used (pripivs) vary with the day or feast, and do not end the singing of the whole psalm. See also stichery na stichovnych. Archieratikon Тhе book containing texts and rubrics for the solemn Hierarchical (a.k.a. Pontifical) Divine Liturgy. The Archieratikon also contains the sacrament of Ноlу Orders and special blessings and consecrations. Canon A system of nine odes (the Second Ode is sung only during Great Lent) sung at Matins after Psalm 50 and before the Praises. Each ode is connected traditionally with a scriptural canticle (see below for the nine scriptural canticles) and consists of an Irmos, a variable number of troparia and, on feasts, a katavasia. After the Third Ode a sidalen is usually sung, and after the Sixth Ode a kontakion and ikos, and after the Ninth Ode, the Svitelen is sung. The Canon has its own system of eight tones. Domatikon A theotokion sung after “Now…” (or “Glory… Now…”) at the end of Psalms 140, 141, 129, and 116 at Vespers on Friday and Saturday evenings, and on the eve of a Polyeleos saint or saints with a vigil in the same tone as the last sticheron of the saint (at “Glory…”).
    [Show full text]
  • The Office of Vespers
    THE PATRIARCHAL ORTHODOX CHURCH OF ROMANIA ARCHDIOCESE OF WESTERN EUROPE THE OFFICE OF VESPERS TYPIKON ( With Litiya & Artoklasia Service ) ? The priest vests with the epitrachelion in the sanctuary. He opens the curtain and the Royal Doors Standing before the holy table facing East, he blesses himself saying loudly : Priest Blessed is Our God, always, Now and Forever, and to the Ages of Ages. + Choir Amen. Glory to Thee our God, Glory to Thee. The Choir Leader begins the Trisagion Prayers. The priest closes the Holy Doors and curtain Choir Come let us worship and bow down before God our King ( + metanie ) Come let us worship and bow down before Christ, our King and God ( + metanie ) Come let us worship and bow down before Christ himself, our King, and our God ( + metanie ) O Heavenly King, the Paraclete, the Spirit of Truth, who are present everywhere filling all things, Treasury of good things, and Giver of Life, come and dwell in us, cleanse us of every stain, and save our souls, O Good One. + Holy God, Holy Mighty, Holy Immortal, Have mercy on us ( three times) + Glory to the Father, and to the Son, and to the Holy Spirit, Now, and forever, and to the Ages of Ages, Amen. All Holy Trinity have mercy on us. Lord forgive us our sins. Master pardon our transgressions. Holy One, visit and heal our infirmities for your name’s sake. Lord have mercy, Lord have mercy, Lord have mercy. + Glory to the Father, and to the Son, and to the Holy Spirit Now, and forever, and to the Ages of Ages, Amen.
    [Show full text]
  • June 09, 2020 Rev. Father, Hon. President, & Est. Members of the Community Council, Churches of the Greek Orthodox Archdioc
    June 09, 2020 Rev. Father, Hon. President, & Est. Members of the Community Council, Churches of the Greek Orthodox Archdiocese of Canada In Ontario Beloved in Christ, Plan for the Reopening of the Churches 1. Church leaders are responsible for the implementation and adherence to all health regulations issued by each Province. If any particular parish feels that they are not ready to implement the following guidelines immediately, they can postpone re-opening for up to a week. 2. All those in high risk groups are strongly urged to stay home in accordance with government guidelines. 3. Each Church according to its area should determine how many people it can safely host per service, while maintaining government guidelines (2 m social distancing and 30% capacity). 4. There should be more services during the week to accommodate all the faithful, or more than one (1) service will be done daily so people can attend and maintain social distancing. 5. Only one chanter per chanting station (analogion) is permitted. 6. Up to five (5) altar boys per service are permitted (depending on size of altar area) and only one sexton. 7. When full capacity of 30% is reached, no parishioners will be allowed into the Church. Additional people are free to wait outside until the end of Liturgy, maintaining social distance. Please note that Church halls can be used for additional seating, provided they do not surpass 30% of the hall’s occupancy and still maintain social distancing. When Liturgy concludes clergy have 2 options: a) After the first group exits the Church, those waiting outside may be allowed in to receive Holy Communion or b) If they are too many people, clergy can consider, or even plan beforehand, to have additional services the same day.
    [Show full text]
  • For the Bulletin of January21, 2018 the THIRD SUNDAY in WINTER's
    For The Bulletin Of The sons of Zebedee are critical figures January21, 2018 in the Synoptic stories as opposed to the Gospel of John. In fact, we only hear of the “sons of Zebedee” in the epilogue of the Gospel of John, but nowhere in the first twenty chapters. Even in John 21 we don’t learn their names. They are merely the sons of Zebedee. But the image Mark paints for us is different. He gives us their names and depicts them as giving themselves in complete dedication to following Jesus. THE THIRD SUNDAY IN All is abandoned in their pursuit of him. WINTER’S ORDINARY TIME In this story we also hear something of the preaching of Jesus, which to a certain From Father Robert degree echoed that of John the Baptist. Cycle B of the Lectionary means we are Jesus’ preaching will be developed and reading primarily from the Gospel of expanded throughout the Gospel of Mark, even though last week we read Mark, but at this early stage it is from the Gospel of John, and heard centered around the twofold command, about the call of the first disciples, “Repent, and believe.” Andrew, and an unnamed disciple. This week we have a different version, The story is certainly idealized for Mark’s version, of the call of the first dramatic effect; we only need to look at disciples. Though Andrew is still part of the Gospel of John to see another the story, we do not have the “unnamed version of Andrew and Peter being disciple” from the Gospel of John.
    [Show full text]
  • The Ieonography of Sanctuary Doors from Patmos and Its Place in The
    The Ieonography of Sanctuary Doors from Patmos and its Place in the Iconographie program of the Byzantine Ieonostasis By Georgios Kellaris A thesls sutmitted to the Facu1ty of Graduate Studies { and Research in partial fulfi1lment of the requirernents for the degree of Master of Arts Department of Art history McGill University March, 1991 © Georgios Kellaris 1991 Montréal, Québec, canada ---------~~- - ---- il The lconostasis is the most characteristic feature of the Orthodox Church. The metaphyslcal conception of the space of the church prQnpted its emergence, and the ~tical Interpretation of the Liturgy deter~ned its evolution. These aspects were reflected in the iconographie program of the iconostasis. The sanctuary dOOIS are the only part of tt.e Patmlan iconostases bearing figurative decoIatlon. The study of the themes on the doors reveals an iconographie program with strong lituIglcal character. Furthermore, this program encompasses the entire range of the ~tical syrrbol1sm pertaining to the iconostasis. The anal}JSis indicates that the doors are instrumental in the function of the iconostasis as a liturgical device aim1ng at a greater unitY between the earthly and the divine realms. ill 1 L t iconostase est un élément Indispe... .Able de l'Église OrthodoAe. La raison de sa naissance se trouve dans la conception métaphysique de l'éspace ecclésiastique et sa évolution a été determlné par l'interprétë.\tion mystique de la 11 turgie. Ces aspects sont reflétés par le progranme iconographique de l'iconostase. Dctns les iconostases de PatIOOs la porte est la seule section où se trouve des décorations figuratives. L'étude de thémes trouvé sur ces portes révéle un programne iconographique de caractère liturgique.
    [Show full text]
  • The Cross and the Crucifix by Steve Ray
    The Cross and the Crucifix by Steve Ray Dear Protestant Friend: You display a bare cross in your homes; we display the cross and the crucifix. What is the difference and why? The cross is an upright post with a crossbeam in the shape of a “T”. A crucifix is the same, but it has Christ’s body (corpus) attached to the cross. As an Evangelical Protestant I rejected the crucifix—Christ was no longer on the cross but had ascended to heaven. So why do I now tremble in love at the site of a crucifix? Let’s examine the history and issues surrounding the two. I will start with the Old Testament and the Jews’ use of images and prohibition of idols. I know in advance that it is not a thorough study, but it will give a general overview of the issues. I will try to provide a brief overview of the Cross and the Crucifix, the origin, the history, and the differing perspectives of Catholic and Protestant. It will try to catch the historical flow and include the pertinent points. The outline is as follows: 1. The Three Main Protestant Objections to the Crucifix 2. Images and Gods in the Old Testament 3. Images and Images of Christ in the New Testament 4. The Cross in the First Centuries 5. The Crucifix Enters the Picture 6. The “Reformation” and Iconoclasm 7. Modern Anti-Catholics and the Crucifix 8. Ecumenical Considerations The Three Main Protestant Objections to the Crucifix Let me begin by defining “Protestant” as used in this article.
    [Show full text]
  • Russian Christian Orthodox Icons of the Mother of God George Contis M.D
    University of Dayton eCommons Marian Library Art Exhibit Guides Spirituality through Art 2015 Russian Christian Orthodox Icons of the Mother of God George Contis M.D. Follow this and additional works at: https://ecommons.udayton.edu/ml_exhibitguides Recommended Citation Contis, George M.D., "Russian Christian Orthodox Icons of the Mother of God" (2015). Marian Library Art Exhibit Guides. 5. https://ecommons.udayton.edu/ml_exhibitguides/5 This Exhibit Guide is brought to you for free and open access by the Spirituality through Art at eCommons. It has been accepted for inclusion in Marian Library Art Exhibit Guides by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Russian Christian Orthodox Icons of the Mother of God by George Contis, M.D., M.P.H . Russian Christian Orthodox Icons of the Mother of God by George Contis, M.D., M.P.H. Booklet created for the exhibit: Icons from the George Contis Collection Revelation Cast in Bronze SEPTEMBER 15 – NOVEMBER 13, 2015 Marian Library Gallery University of Dayton 300 College Park Dayton, Ohio 45469-1390 937-229-4214 All artifacts displayed in this booklet are included in the exhibit. The Nativity of Christ Triptych. 1650 AD. The Mother of God is depicted lying on her side on the middle left of this icon. Behind her is the swaddled Christ infant over whom are the heads of two cows. Above the Mother of God are two angels and a radiant star. The side panels have six pairs of busts of saints and angels. Christianity came to Russia in 988 when the ruler of Kiev, Prince Vladimir, converted.
    [Show full text]
  • Church and Liturgical Objects and Terms
    Church and Liturgical Objects and Terms Liturgical Objects Used in Church The chalice: The The paten: The vessel which golden “plate” that holds the wine holds the bread that that becomes the becomes the Sacred Precious Blood of Body of Christ. Christ. The ciborium: A The pyx: golden vessel A small, closing with a lid that is golden vessel that is used for the used to bring the distribution and Blessed Sacrament to reservation of those who cannot Hosts. come to the church. The purificator is The cruets hold the a small wine and the water rectangular cloth that are used at used for wiping Mass. the chalice. The lavabo towel, The lavabo and which the priest pitcher: used for dries his hands after washing the washing them during priest's hands. the Mass. The corporal is a square cloth placed The altar cloth: A on the altar beneath rectangular white the chalice and cloth that covers paten. It is folded so the altar for the as to catch any celebration of particles of the Host Mass. that may accidentally fall The altar A new Paschal candles: Mass candle is prepared must be and blessed every celebrated with year at the Easter natural candles Vigil. This light stands (more than 51% near the altar during bees wax), which the Easter Season signify the and near the presence of baptismal font Christ, our light. during the rest of the year. It may also stand near the casket during the funeral rites. The sanctuary lamp: Bells, rung during A candle, often red, the calling down that burns near the of the Holy Spirit tabernacle when the to consecrate the Blessed Sacrament is bread and wine present there.
    [Show full text]
  • Dositheos Notaras, the Patriarch of Jerusalem (1669-1707), Confronts the Challenges of Modernity
    IN SEARCH OF A CONFESSIONAL IDENTITY: DOSITHEOS NOTARAS, THE PATRIARCH OF JERUSALEM (1669-1707), CONFRONTS THE CHALLENGES OF MODERNITY A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Christopher George Rene IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Adviser Theofanis G. Stavrou SEPTEMBER 2020 © Christopher G Rene, September 2020 i Acknowledgements Without the steadfast support of my teachers, family and friends this dissertation would not have been possible, and I am pleased to have the opportunity to express my deep debt of gratitude and thank them all. I would like to thank the members of my dissertation committee, who together guided me through to the completion of this dissertation. My adviser Professor Theofanis G. Stavrou provided a resourceful outlet by helping me navigate through administrative channels and stay on course academically. Moreover, he fostered an inviting space for parrhesia with vigorous dialogue and intellectual tenacity on the ideas of identity, modernity, and the role of Patriarch Dositheos. It was in fact Professor Stavrou who many years ago at a Slavic conference broached the idea of an Orthodox Commonwealth that inspired other academics and myself to pursue the topic. Professor Carla Phillips impressed upon me the significance of daily life among the people of Europe during the early modern period (1450-1800). As Professor Phillips’ teaching assistant for a number of years, I witnessed lectures that animated the historical narrative and inspired students to question their own unique sense of historical continuity and discontinuities. Thank you, Professor Phillips, for such a pedagogical example.
    [Show full text]