A great man is one who collects knowledge the way a bee collects honey and uses it to help people overcome the difficulties they endure - hunger, ignorance and disease!
- Nikola Tesla

Remember, remember always, that all of us, and you and I especially, are descended from immigrants and revolutionists.
- Franklin Roosevelt

While their territory has been devastated and their homes despoiled, the spirit of the Serbian people has not been broken.
- Woodrow Wilson

Queen of Los Angeles

Christian Iconography in the Context of Modern Culture: An Iconological Analysis of the Icon of Our Lady Theotokos Queen of Los Angeles

Since its inception, Christian iconography has always been closely connected to the cultures in which it developed. In fact, the basis of how we understand church art today is grounded in the secular artistic traditions of the Graeco-Roman world. Christian artists have been using pagan iconography and visual rhetoric ever since Christian art began to emerge.1) They borrowed heavily from both the pictorial and verbal elements that they found useful for the spreading the gospel message. For example, Christain artists adapted the figure of a sovereign God (characterized by a long hair and beard) such as Jupiter, as a representation of Christ because it expressed an idea of eternity to that culture.2) Similarly, the pagan image of the shepherd—a symbol of philanthropy in pagan Roman art—became the representation of Jesus Christ.3) This was probably due to its striking similarity to "the Good Shepherd" passage from John 10:11-16. The reasoning behind this process is that these familiar, if pagan, images were a better tool for preaching the gospel than creating a wholly new and unfamiliar set of images of a "purely" Christian origin. This enabled Christians to give new meaning to already familiar images and to thereby further an on-going cultural conversation. We would do well to learn from their example and truly engage our own culture.

This means that the Church must continue preaching its gospel, but do so in the artistic language of its culture. In order to do this and remain distinctivey Christian, Church art must also honor the traditional elements of its own iconography. These elements have been transmitted through a stable process of recension. Nevertheless, even if it is recensional, iconography is never sterile, closed off, or fixed, but always incorporates new elements in addition to the ones it has inherited from the tradition. As Lester L. Bundy notes: "It has always been characteristic of Orthodox iconography that the desire to maintain an historically dictated consistency in style, form, content, etc. exists in tension with the natural inclination for individual style and techniques."4) Iconography grows through a dialogue between the old and the new in the form of a commentary or what art historians call "text-and-gloss." Personal taste plays a large role in this dialogue: every generation adds a new layer of meaning, a new style in painting, and a new kind of figure to those already venerated in the tradition. New schools of iconography, show-casing their own regional traditions, have emerged as examples of this phenomenon.5) Thus, to continue the fucund tradtion of the Church we must create an original North American iconography that refelects the culture of North America and communicates the gospel to it. After all, iconography is supposed to be an expression of an authentic faith and not simply a copy of someone else's religious experience.6)

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Holy Cross Yakima Iconography Project

Five years ago our parish began communicating with an iconographer and his wife in Belgrade, Serbia, UGLJESA and ZVEZDANA MILETA. I had seen their iconography in pictures brought back by one of our parishioners from a beautiful Serbian church in Butte, Montana. The Church had been adorned by Ugljesa and other associates from Belgrade. I am not a byzantine icon expert, but I could tell from what little knowledge I had that these people have a love for the Tradition of the Church... that they were intent on following the Apostolic command, “Therefore, brethren, stand fast, and hold the traditions which ye have been taught...”. Our correspondence and perseverance with the visa process finally resulted in their arrival in Yakima and the beginning of this great effort during Bright Week of 2012.

Twenty-five years ago now our small parish was received by His Eminence Metropolitan PHILIP into the communion of the Antiochian Orthodox Church. This meant that we had entered the historic Apostolic Church in the very place that believers had first been called “Christians” almost 2000 years ago.

One does not enter the Orthodox Church and according to our preferences attempt to shape and form its ethos, its cultural predisposition, primarily the “way things are done”, handed down by the Apostles themselves. We must be shaped and formed by the ethos of the Church; its sights, sounds, smells, actions, auditory features and etiquette... its ways. We no more adapt the theology of the Church to our way of thinking than we design the ethos of the Church to fit our aesthetic predispositions. The theology of the Church is an Apostolic gift just as the sound and content of ecclesiastical hymnody was revealed to the Church from the Old Testament through the New Testament and throughout the ages of the Church by many heavenly and miraculous visitations. These visitations have revealed the ethos, the heavenly content and sound of our hymnody. This way of doing Church hymnody is part of the transforming power of holding to, “...the traditions which ye have been taught...” and allowing them to transform our preferences and predispositions. Iconography is like that as well. We do not shape and form it according to our own image. Rather, we are shaped and formed by the grace of God flowing from this iconographic tradition. This is the ethos of the Church in shapes and colors that bends our attention toward seeking “...first the kingdom of God and His righteousness...”.

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Scientific American о портрету Константина Великог, 1911.

A New Portrait of Constantine the Great
A Splendidly Preserved Record of a Prominent Historical Figure
By Alfred Emerson, Chicago Art Institute

У духу прославе јубилеја – 17 векова од доношења Миланског едикта, Одељење за документацију Народног музеја у Београду преноси чланак који је објављен 1911. године у престижном америчком научном часопису Scientific American Supplement. No. 1865, у коме се говори о бронзаном портрету Константина Великог.

У ауторском тексту, Алфред Емерсон, уважени историчар уметности Уметничког института из Чикага, захваљује Народном музеју у Београду и Српском легату у Лондону на пруженој шанси да ова вредни експонат види више пута, а затим читаоце упознаје са условима налаза портрета. Наиме, бронзана глава императора Константина I случајно је пронађена у Нишу, некадашњем римском граду Наисусу, док су се копали темељи за нови мост преко Нишаве 1900. године.

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Simic Galleries

Simic Galleries Enriching Lives with Fine Art
As printed in South Coast Magazine

Simic GalleriesThe very successful group of art galleries, under the name of Simic Galleries Inc., is the result of the hopes, dreams and aspirations of a man of great vision, Mario B. Simic.

Arriving in America in 1970, he embraced his new found home and the freedom afforded him to pursue his dreams. As an artist living in Carmel, he was inspired by the magnificent California coastline and soon opened what was to be the first of many galleries.

Simic's personal passion for painting and for collecting fine works of art drew many international and American artists to his gallery as a venue in which to showcase their art. The quality of the artwork exhibited attracted fine art collectors from around the world, including dignitaries and public figures. Within a short time there were three Simic Galleries catering to the fine art needs of art appreciators from all walks of life.

Today, in their 24th year, Simic Galleries are located in the cities of Carmel, La Jolla, Rancho Santa Fe and Palm Desert, California. Recently, this outstanding company celebrated the grand opening of two new locations in Scottsdale, Arizona, where Jane Seymour, actress/artist was the honored guest, exhibiting her most recent paintings in a one-woman show.

Celebrity guests have not been uncommon in the history of Simic Galleries. The paintings of Tony Bennett and Jack Palance are among the exciting celebrity artists whose artwork has been exhibited.

It is, however, not only the notables who have made Simic Galleries a leader in fine art, but also the many art consultants who have devoted 10 years or more to serving the art needs of the ever growing family of Simic collectors. These very special Simic Fine Art Consultants have a wealth of knowledge to impart to everyone who walks into a Simic gallery.

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People Directory

Father Mateja Matejić

Mateja Matejić (born 1924) (Serbian Cyrillic: Матеја Матејић) - Priest of Serbian Orthodox Church, emigrant since 1945, and the Professor Emeritus of Slavic languages and Literatures at Ohio State University. Matejic graduated from the Slavic Department in the USA where he received his Ph.D.

Mateja Matejić is a founder of the Chilandar scientific project at the Ohio State University in Columbus, where he has been teaching Slavic languages since 1968. He is a founder and director of the publishing house Kosovo, as well as the editor of the Path of Orthodoxy magazine.

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Publishing

Treasures New and Old

Writings by and about St. Nikolai Velemirovich

Before us is a book about a theologian, a minister, a missionary, a writer, a poet, an apostle, a saint, a man of dialogue: this book is about St. Nikolai Velimirovic, Bishop of Ohrid and Zhicha (1880 - 1956), who along with his many other attributes is regarded, with good reason, as an Enlightener of the Americas, The renewed interest in this man and his works has resulted in the materialization of this book for English-speaking readers who wish to become acquainted with this extraordinary person. The collected texts provide an extensive over view of his life, present important testimonies about his personality, and offer essential insights into his theology. The authors penetrate the depths of his thought with remarkable precision and also elucidate his actions. The authros agree that the appearance of Nikolai Velimirovich marks an era of change in the ecclesiastical and theological paradigm as a result of his spirituality, ecclsiastical work, and theological position.

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