Eastern Orthodox Icons
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
OCTOECHOS – DAY of the WEEK Tone 1 – 1St Canon – Ode 3
OCTOECHOS – DAY OF THE WEEK Tone 1 – 1st Canon – Ode 3 – Hymn to the Theotokos You conceived God in your womb through the Holy Spirit, and yet remained unconsumed, O Virgin. The bush unconsumed by the fire clearly foretold you to the lawgiver Moses for you received the Fire that cannot be endured. Monday – Vespers / Tuesday - Matins: Aposticha – Tone 1 O VIRGIN, WORTHY OF ALL PRAISE: MOSES, WITH PROPHETIC EYES, BEHELD THE MYSTERY THAT WAS TO TAKE PLACE IN YOU, AS HE SAW THE BUSH THAT BURNED, YET WAS NOT CONSUMED; FOR, THE FIRE OF DIVINITY DID NOT CONSUME YOUR WOMB, O PURE ONE. THEREFORE, WE PRAY TO YOU AS THE MOTHER OF GOD, // TO ASK PEACE, AND GREAT MERCY FOR THE WORLD. Tone 2 – Saturday Vespers & Friday Vespers (repeated) – Dogmaticon Dogmatic THE SHADOW OF THE LAW PASSED WHEN GRACE CAME. AS THE BUSH BURNED, YET WAS NOT CONSUMED, SO THE VIRGIN GAVE BIRTH, YET REMAINED A VIRGIN. THE RIGHTEOUS SUN HAS RISEN INSTEAD OF A PILLAR OF FLAME.// INSTEAD OF MOSES, CHRIST, THE SALVATION OF OUR SOULS. Tone 3 – Wed Matins – 2nd Aposticha ON THE MOUNTAIN IN THE FORM OF A CROSS, MOSES STRETCHED OUT HIS HANDS TO THE HEIGHTS AND DEFEATED AMALEK. BUT WHEN YOU SPREAD OUT YOUR PALMS ON THE PRECIOUS CROSS, O SAVIOUR, YOU TOOK ME IN YOUR EMBRACE, SAVING ME FROM ENSLAVEMENT TO THE FOE. YOU GAVE ME THE SIGN OF LIFE, TO FLEE FROM THE BOW OF MY ENEMIES. THEREFORE, O WORD, // I BOW DOWN IN WORSHIP TO YOUR PRECIOUS CROSS. Tone 4 – Irmos of the First Canon – for the Resurrection (Sat Night/Sun Morn) ODE ONE: FIRST CANON IRMOS: IN ANCIENT TIMES ISRAEL WALKED DRY-SHOD ACROSS THE RED SEA, AND MOSES, LIFTING HIS HAND IN THE FORM OF THE CROSS, PUT THE POWER OF AMALEK TO FLIGHT IN THE DESERT. -
BYZANTINE CAMEOS and the AESTHETICS of the ICON By
BYZANTINE CAMEOS AND THE AESTHETICS OF THE ICON by James A. Magruder, III A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland March 2014 © 2014 James A. Magruder, III All rights reserved Abstract Byzantine icons have attracted artists and art historians to what they saw as the flat style of large painted panels. They tend to understand this flatness as a repudiation of the Classical priority to represent Nature and an affirmation of otherworldly spirituality. However, many extant sacred portraits from the Byzantine period were executed in relief in precious materials, such as gemstones, ivory or gold. Byzantine writers describe contemporary icons as lifelike, sometimes even coming to life with divine power. The question is what Byzantine Christians hoped to represent by crafting small icons in precious materials, specifically cameos. The dissertation catalogs and analyzes Byzantine cameos from the end of Iconoclasm (843) until the fall of Constantinople (1453). They have not received comprehensive treatment before, but since they represent saints in iconic poses, they provide a good corpus of icons comparable to icons in other media. Their durability and the difficulty of reworking them also makes them a particularly faithful record of Byzantine priorities regarding the icon as a genre. In addition, the dissertation surveys theological texts that comment on or illustrate stone to understand what role the materiality of Byzantine cameos played in choosing stone relief for icons. Finally, it examines Byzantine epigrams written about or for icons to define the terms that shaped icon production. -
The Apocryphal Bulgarian Sermon of Saint John Chrysostom on the Оrigin of Paulicians and Manichean Dimensions of Medieval Paulician Identity
Studia Ceranea 10, 2020, p. 425–444 ISSN: 2084-140X DOI: 10.18778/2084-140X.10.21 e-ISSN: 2449-8378 Hristo Saldzhiev (Stara Zagora) https://orcid.org/0000-0002-4116-6600 The Apocryphal Bulgarian Sermon of Saint John Chrysostom on the Оrigin of Paulicians and Manichean Dimensions of Medieval Paulician Identity ne of the most interesting documents concerning the early history of Pau- O licianism in Bulgarian lands is the apocryphal Saint John Chrysostom’s ser- mon on how the Paulicians came to be1. Its text is known entirely or partly from eight copies; the earliest ones are dated back to the 16th century2. The best-known variant is the copy from the Adžar collection N326 (17th century), preserved at the Bulgarian National Library3. It was found and published for the first time by Jor- dan Ivanov, the discoverer of the sermon, in 1922. Since then the Adžar and other copies have been published or quoted in different studies and research works4. The meaningful differences between the different copies are insignificant, except for the final passage. According to the Adžar copy, St. John Chrysostom from Petrič went to the Bulgarian land to search for the two “disciples of the devil”, but accord- ing to the others, he sent to the Bulgarian land delegates who brought “disciples of the devil” to Petrič5. That gives a reason to think that the copies transmitted the text of the initial original relatively correctly. According to Anisava Miltenova 1 Below in the text I will refer to it as “the sermon”. 2 А. МИЛТЕНОВА, Разобличението на дявола-граматик. -
Course Listing Hellenic College, Inc
jostrosky Course Listing Hellenic College, Inc. Academic Year 2020-2021 Spring Credit Course Course Title/Description Professor Days Dates Time Building-Room Hours Capacity Enrollment ANGK 3100 Athletics&Society in Ancient Greece Dr. Stamatia G. Dova 01/19/2105/14/21 TBA - 3.00 15 0 This course offers a comprehensive overview of athletic competitions in Ancient Greece, from the archaic to the hellenistic period. Through close readings of ancient sources and contemporary theoretical literature on sports and society, the course will explore the significance of athletics for ancient Greek civilization. Special emphasis will be placed on the Olympics as a Panhellenic cultural institution and on their reception in modern times. ARBC 6201 Intermediate Arabic I Rev. Edward W. Hughes R 01/19/2105/14/21 10:40 AM 12:00 PM TBA - 1.50 8 0 A focus on the vocabulary as found in Vespers and Orthros, and the Divine Liturgy. Prereq: Beginning Arabic I and II. ARTS 1115 The Museums of Boston TO BE ANNOUNCED 01/19/2105/14/21 TBA - 3.00 15 0 This course presents a survey of Western art and architecture from ancient civilizations through the Dutch Renaissance, including some of the major architectural and artistic works of Byzantium. The course will meet 3 hours per week in the classroom and will also include an additional four instructor-led visits to relevant area museums. ARTS 2163 Iconography I Mr. Albert Qose W 01/19/2105/14/21 06:30 PM 09:00 PM TBA - 3.00 10 0 This course will begin with the preparation of the board and continue with the basic technique of egg tempera painting and the varnishing of an icon. -
Icons and Saints of the Eastern Orthodox Church Pdf, Epub, Ebook
ICONS AND SAINTS OF THE EASTERN ORTHODOX CHURCH PDF, EPUB, EBOOK Alfredo Tradigo | 384 pages | 01 Sep 2006 | Getty Trust Publications | 9780892368457 | English | Santa Monica CA, United States Icons and Saints of the Eastern Orthodox Church PDF Book In the Orthodox Church "icons have always been understood as a visible gospel, as a testimony to the great things given man by God the incarnate Logos". Many religious homes in Russia have icons hanging on the wall in the krasny ugol —the "red" corner see Icon corner. Guide to Imagery Series. Samuel rated it really liked it Jun 21, It did not disappoint on this detail. Later communion will be available so that one can even utilize the sense of taste during worship. Statues in the round were avoided as being too close to the principal artistic focus of pagan cult practices, as they have continued to be with some small-scale exceptions throughout the history of Eastern Christianity. The Art of the Byzantine Empire — A Guide to Imagery 10 , Bildlexikon der Kunst 9. Parishioners do not sit primly in the pews but may walk throughout the church lighting candles, venerating icons. Modern academic art history considers that, while images may have existed earlier, the tradition can be traced back only as far as the 3rd century, and that the images which survive from Early Christian art often differ greatly from later ones. Aldershot: Ashgate. In the Orthodox Church an icon is a sacred image, a window into heaven. Purple reveals wealth, power and authority. Vladimir's Seminary Press, The stillness of the icon draws us into the quiet so that we can lay aside the cares of this world and meditate on the splendor of the next. -
The Painting of Icons * Fall Semester, 2015: R, 2:30-5:30 PM Course # SAR 4007-001 (CRN #24286), Vasey Studio, 207 Fr
The Painting of Icons * Fall Semester, 2015: R, 2:30-5:30 PM Course # SAR 4007-001 (CRN #24286), Vasey Studio, 207 Fr. Richard Cannuli, OSA and Dr. Tina Waldeier Bizzarro * satisfies Diversity 3 Requirement (non-Western cultures) ICON OF ST. AUGUSTINE OF HIPPO, WRITTEN BY FR. RICHARD CANNULI, osa Reading List: Baggley, John. Doors of Perception: Icons and Their Spiritual Significance. Crestwood, New York: St. Vladimir's Seminary Press, 1995. ISBN: 0-88141-071-3 (Required—to be distributed in class). Barasch, Moshe. Studies in the History of An Idea. New York: New York University Press, 1992 (ISBN: 0814712142, 9780814712146), Paperback. Forest, Jim. Praying with Icons. Maryknoll, NY: Orbis Books, 1997 (ISBN: 1 57075-112-9) (Required). Weekly Readings: Dr. Bizzarro will give you a series of articles to be read during the course of the semester. Bring an empty flash drive with you on the first day of class. Optional: Maguire, Henry. The Icons of Their Bodies: Saints and Their Images in Byzantium. Princeton: Princeton Univ. Press, 1996 (ISBN: 0-691-02581- 9). (May be purchased online, if desired; not in bookstore). 1 Khludov Psalter (detail), 9th century. The image represents the Iconoclast theologian, John the Grammarian, and an iconoclast bishop destroying an image of Christ (State Hist. Mus., Moscow) Course Description – Diversity 3: [Diversity 3: Courses focus on the culture, economics, politics or ecology of societies and nations other than those of Western Europe and the United States and that emphasize power, privilege, and marginalization or a critical analysis of how these cultures define and express themselves.] We will learn to write an icon in the Russo-Byzantine technique with all-natural materials--tempera paints, a gesso-covered birch board, sable brushes, gold leaf, clay, and stand oil (natural linseed oil polymerized by heating)--as tools, following early Christian painterly formulae. -
Themes of Eastern Orthodox Art by John Kohan
Soundings June 2017 Themes of Eastern Orthodox Art This article is the At first glance, the art of the first in a two-part Eastern Orthodox Church might series submitted seem strange to Western viewers as a companion whose notion of an “iconic” piece to the summer art exhibit in The religious image is Leonardo da Gallery. Vinci’s painting of The Last Supper with its lifelike figures in the Italian Renaissance style. John Kohan The holy faces on true icons 15th century Russian iconographer, Andrei Rublev, Art Historian stare out at us like alien visitors created an image in this style of such beauty and and Collector from a realm outside of time and theological depth it has become the prototype for space as we know it. modern icons of The Holy Trinity like the one in this Icons have been called “windows into heaven” show. to describe the role they play in Orthodox worship. Icons of Christ Whether they are used for personal devotion or celebrate his divinity. assembled in a church icon screen for the liturgy, they As Church Father are considered to be paint-on-wood “stand-ins” for the Athanasius of holy beings they represent, functioning like outposts of Alexandria wrote in heaven on earth. the 4th century: “He The Orthodox see painting an icon as comparable was made human that to writing a work of theology, so, this sacred art form we might be made is often described as “icon-writing.” To discourage the God.” The images faithful from focusing on what is human and transient on display of Christ in sacred portraits, icon-makers developed simplified, and Christ in Glory Yatskiv standardized images of their sacred subjects, called offer a glimpse of the prototypes, which have remained largely unchanged eternal realm where he is adored by angels and down the centuries. -
Middle Byzantine Aesthetics and the Incomparability of Islamic
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College History of Art Faculty Research and Scholarship History of Art 2010 Middle Byzantine Aesthetics and the Incomparability of Islamic Art: The Architectural Ekphraseis of Nikolaos Mesarites Alicia Walker Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/hart_pubs Custom Citation Alicia Walker, "Middle Byzantine Aesthetics and the Incomparability of Islamic Art: The Architectural Ekphraseis of Nikolaos Mesarites," Muqarnas 27 (2010): 79-101. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/hart_pubs/57 For more information, please contact [email protected]. ALICIA WALKER MIDDLE BYZANTINE AESTHETICS OF POWER AND THE INCOMPARABILITY OF ISLAMIC ART: THE ARCHITECTURAL EKPHRASEIS OF NIKOLAOS MESARITES An early thirteenth-century historical treatise, The between churches and this building, or between sacred Palace Revolt of John Komnenos by Nikolaos Mesa and imperial icons and the images on the ceiling ofthe rites, an author of the middle Byzantine period (ca. Mouchroutas. Rather, these juxtapositions were con 843-1204), contains a passage that briefly describes an structed by Mesarites and indicate his reception of, not Islamic-style building, the Mouchroutas, which was part the original intentions behind, the Islamicizing work of of the imperial palace complex in Constantinople (see art. Appendix).l The author emphatically states that the Nikolaos Mesarites (d. ca. 1214) was a Byzantine structure was the work of "a Persian hand," that is to courtier from a prominent family. -
Icon Veneration in Evangelical and Orthodox Religious Practices in the 21St Century
religions Article Spiritual Synchronicity: Icon Veneration in Evangelical and Orthodox Religious Practices in the 21st Century Mae Elise Cannon and Kevin Vollrath * Churches for Middle East Peace (CMEP), Washington, DC 20002, USA; [email protected] * Correspondence: [email protected] Abstract: Much scholarship in the dialogue between evangelical and Orthodox believers focuses on doctrinal compatibility. This article contributes to that literature by giving an example of a spiritual practice (icon veneration) that creates additional space for ecumenical dialogue and unity. Some US- evangelicals in the 21st century have incorporated the use of icons into their personal faith practices. Icon veneration is ripe with ecumenical potential for evangelical–Orthodox relations because of its prominence in Orthodox communions while at the same time appealing to a growing number of evangelicals. This article considers three sites of evangelical icon use in turn: the Evangelical Baptist Church of Georgia (EBCG), Icons of Black Saints, and an evangelical ministry called “Heart of the Artist”. Each site adopts a slightly unique understanding of icons that may appeal to evangelical be- lievers. Although Orthodox and evangelical believers may understand theologies of icon veneration differently, the emergence of icon veneration among evangelicals remains a spiritual synchronicity, and ought to be recognized as such. Evangelicals continue to receive the gift of icon veneration from their Orthodox siblings in ways in line with the EBCG, Black Orthodox icons, and Heart of the Artist, so icon veneration has potential to further resource ecumenical dialogue. Citation: Cannon, Mae Elise, and Kevin Vollrath. 2021. Spiritual Keywords: iconography; icon veneration; evangelical–Orthodox relations; ecumenism Synchronicity: Icon Veneration in Evangelical and Orthodox Religious Practices in the 21st Century. -
Theology in Sound ~ the Eight Tones
Theology in Sound Orthodox Hymn Study ~ Introduction to the Eight Tones www.agesofgrace.com Page 1 Theology in Sound Orthodox Hymn Study ~ Introduction to the Eight Tones www.agesofgrace.com Page 2 Theology in Sound Orthodox Hymn Study ~ Introduction to the Eight Tones A great saint was born in Syria in the year 676 AD and it was this holy man, St. John of Damascus, who systemized the music forms of the Orthodox Church. St. John gave us what we know as the Octoechos, the eight-tone mode of music that forms the melodic framework of the hymnology of the Orthodox Church. Our venerable and God-bearing Father John of Damascus fell asleep in the Lord in the year 749 AD. The Orthodox Church celebrates his memory on December 4. Study Notes: We begin our simple introduction to the Eight Tones by learning the Sunday Resurrection Troparia, familiar hymns chanted each Sunday in the Divine Liturgy. It’s important to note that this study guide teaches the hymns in Greek Chant. This style is an easy starting place, especially to the western ear. It will be most familiar to families who worship in the Orthodox Church in America. In this guide you will find a suggested schedule of study as well as links to audio recordings and sheet music. Simply click the “Listen” and “Sheet Music” links to take you to the appropriate audio files and PDFs. It is suggested that you spend some time every day singing the selected hymn together. Use the audio recording to help you practice. -
THE FLYING HODEGETRIA the MIRACULOUS ICON AS BEARER of SACRED SPACE by Alexei Lidov
Originalveröffentlichung in: Thunø, Erik ; Wolf, Gerhard (Hrsgg.): The miraculous image in the Late Middle Ages and Renaissance. Papers from a conference held at the Accademia di Danimarca in collaboration with the Bibliotheca Hertziana (Max-Planck-Institut für Kunstgeschichte), Rome, 31 May - 2 June 2003, Rome 2004, S. 273-304 (Analecta Romana Instituti Danici : Supplementum ; 35) THE FLYING HODEGETRIA THE MIRACULOUS ICON AS BEARER OF SACRED SPACE by Alexei Lidov Even now, in contemporary Orthodox churches, one may notice a significant phenomenon at the special services in front of the miraculous icons. An icon defines the structure of a particular sacred space. Modern icons as well as their Byzantine prototypes are inseparable from the spatial context estab lished around the image. It seems important to make a clear statement that the miracle happens not inside a venerated panel but in front of the image. The icon is working as mediator, or channel of the divine energy. And the en tire miracleworking process might be described as the radiation of the holy power concentrated in a selected icon and emanating through it into a par ticular sacred environment, which has been shaped by different means. The various arts and activities whether architectural setting, iconic decoration, pictorial devices, chanting, dramaturgy of lighting, burning of incense, and numerous liturgical rituals should be considered as individual elements subordinated to the creation of a sacred space. All together, including the miraculous image itself, form a unique spatial milieu. It is noteworthy that this particular sacred space is relevant not merely to the church environment but also to any urban or natural milieu which could be temporarily made sacred through religious processions, special performances and liturgical rites. -
Conversations on Visual Memory
Luisa Passerini CONVERSATIONS ON VISUAL MEMORY Luisa Passerini is Professor Emerita of History at the European University Institute, Florence, and has been Principal Investigator of the European Research Council Project “Bodies Across Borders: Oral and Visual Memory in Europe and Beyond”, 2013-2018. Among her books: Women and Men in Love. European Identities in the Twentieth Century (2012); Memory and Utopia. The Primacy of Intersubjectivity (2007); Europe in Love, Love in Europe (1999); Autobiography of a Ge- neration. Italy 1968 (1996); Fascism in Popular Memory (1987). © Luisa Passerini 2018 The image on the cover, drawn by Tarik El Amiri in Turin in April 2013, represents his journey from Morocco to Spain and Italy. Contents Acknowledgements 5 Prologue 9 PART ONE DISTANT VOICES, PRESENT LIVES Chapter 1. Acts of Mapping: Jerry Bruner 17 Chapter 2. Remote Pasts, Possible Worlds: Magdy Youssef; Blerina Cuni; Antony 33 Chapter 3. Signs, Sounds, and Skills 51 The written, the oral and the figurative: Mihail Tirdea; Irina Stan; Ali Arush; Stefan Alexandru Mihai; Florina Claudia Negut; Alina Gabriela Bolog 51 Graphism: Gianni Carchia 66 Gestural and Material Transmission: Jack Goody. Youssef Boukkouss; Tarik El Amiri 75 PART TWO DIALOGUES BETWEEN IMAGES Chapter 4. Figurative Borders of Europe 101 Emptiness, Absences: Eva Leitolf. Leonardo Puris; Mohamed. Ai Weiwei 101 Presences Across Frontiers: Victor López González. Henry Moses; Maricica Anasie; Ludmila Dmitriev 119 Chapter 5. Reverberations and Critical Distances in Mobility Research: Ursula Biemann 141 Multiple Mobilities: Luz Fabiola Sanmaniego Jimenez 143 Modes of Knowledge: Hanane Radouane; Angelica Judith Canchi Cornejo 156 Chapter 6. Keywords for Shared Memories: Bouchra Khalili 181 Mirror: Jean-Willy Mundele-Makusu 182 Hand and Voice: Abdou Cissé; Laila Mountassir 198 Constellation: Iryna Prokaza 213 Appendix.