Catalogues the heritage of images according to type and subject, from the ancient at the Monastery of Saint Catherine in the Sinai to those from Greece, Constantinople, and Russia. This book includes chapters such as role of icons in the Orthodox liturgy and on common iconic subjects, including the fathers and saints of the Eastern Church.

Did you know there was a saint who used a dogsled for transportation? Or a saint who turned down a marriage proposal from the Roman emperor? How about the saint who jumped from building to building during a siege to bring the Eucharist to his parishioners? Discover all of these stories and more in 101 Orthodox Saints. Written for children and those with a childlike curiosity, this visual encyclopedia will enhance your family's understanding and celebration of the saints of the Church. Each page is filled with illustrations, icons, graphics, and fascinating facts about the martyrs, monks, and mothers who boldly lived out their Faith to the glory of God.From Ancient Faith Publishing, your source for books on Orthodox Christianity.

Icons in Time, Persons in Eternity presents a critical, interdisciplinary examination of contemporary theological and philosophical studies of the Christian image and redefines this within the Orthodox tradition by exploring the ontological and aesthetic implications of Orthodox ascetic and mystical theology. It finds Modernist interest in the aesthetic peculiarity of icons significant, and essential for re-evaluating their relationship to non-representational art. Drawing on classical Greek art criticism, Byzantine ekphraseis and hymnography, and the theologies of St. Maximus the Confessor, St. Symeon the New Theologian and St. Gregory Palamas, the author argues that the ancient Greek concept of enargeia best conveys the expression of theophany and theosis in art. The qualities that define enargeia - inherent liveliness, expressive autonomy and self-subsisting form - are identified in exemplary Greek and Russian icons and considered in the context of the hesychastic theology that lies at the heart of Orthodox Christianity. An Orthodox aesthetics is thus outlined that recognizes the transcendent being of art and is open to dialogue with diverse pictorial and iconographic traditions. An examination of Ch’an (Zen) art theory and a comparison of icons with paintings by Wassily Kandinsky, Pablo Picasso, Mark Rothko and Marc Chagall, and by Japanese artists influenced by Zen Buddhism, reveal intriguing points of convergence and difference. The reader will find in these pages reasons to reconcile Modernism with the Christian image and Orthodox tradition with creative form in art.

Welcome to the Orthodox Church—its history, theology, worship, spirituality, and daily life. This friendly guide provides a comprehensive introduction to Orthodoxy, but with a twist: readers learn by making a series of visits to a fictitious church, and get to know the faith as new Christians did for most of history, by immersion. Mathews-Green provides commentary and explanations on everything from how to “venerate” an icon, the Orthodox understanding of the atonement, to the Lenten significance of tofu. It’s the perfect book for inquirers and newcomers, but even readers who have been Orthodox all their lives say they learned things they never knew before. Enjoyable, easy-to-read, and leavened with humor, Welcome to the Orthodox Church is a gracious guide to the ancient faith of the Christian East.

Within the Eastern tradition of Christianity, the eikon, or religious image, has long held a place of honor. In the greater part of Western Christianity, however, discomfort with images in worship, both statues and panel icons, has been a relatively common current, particularly since the Reformation. In the Roman Catholic Church, after years of using religious statues, the Second Vatican Council’s call for “noble simplicity” in many cases led to a stripping of images that in some ways helped refocus attention on the eucharistic celebration itself but also led to a starkness that has left many Roman Catholics unsure of how to interact with the saints or with religious images at all. Today, Western interest in panel icons has been rising, yet we lack standards of quality or catechesis on what to do with them. This book makes the case that icons should have a role to play in the Western Church that goes beyond mere decoration. Citing theological and ecumenical reasons, Visel argues that, with regard to use of icons, the post–Vatican II Roman Catholic Church needs to give greater respect to the Eastern tradition. While Roman Catholics may never interact with icons in quite the same way that Eastern Christians do, we do need to come to terms with what icons are and how we should encounter them.