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Serbian Church In History - THE ARCHBISHOPRIC

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THE ARCHBISHOPRIC

Serbian Church existed as an Archbishopric from 1219-1346. During that period twelve consecutive archbishops occupied the throne of Saint Sava and each of them headed the Church during the reign of some of the most famous kings of Nemanjic (Nemanyich) Dynasty.

Archbishopric See was originally in monastery Zica, but in 1252, owing to impending dangers of Tatar and Kuman invasions, it was, for security reasons, moved to Pec (Pech) — a monastery located at the entrance to the remote Rugova Canyon. All archbishops heading the Serbian Church were experienced spiritual fathers and monks who were previously abbots either at Hilandar or at Studenica monasteries. Two of them, Nicodim (1317-1324, Nicodemus) and Danilo II (1324-1337, Daniel), both archbishops during reigns of King Milutin and King Stefan Decanski, were prominent literary authors and translators. Archbishop Danilo II, previously abbot of Hilandar and a diplomat, left behind him his famous “Biographies of Serbian Kings and Archbishops”, known also as “Ancient Books” (Knjige Starostavne). Period of the Archbishopric coincided with the epoch in Serbian history when many a famous king ruled the Serbian Kingdom: King Vladislav (1233-1243), King Uros I (1243-1276, Urosh), King Dragutin (1276-1282). Numerous famous monasteries were erected then: Mileseva (founder and patron — King Vladislav), Sopocani (Sopochany; 1265, founder and patron — King Uros), Moraca (Moracha; 1252, founder and patron Knez Stefan), King Dragutin’s memorials were monasteries Raca (Racha), Tronosa (Tronosha), Lovnica (Lovnitsa), Ozren, and Tavna. King Milutin (1282-1321) built the Church of the Theotokos (Bogorodicina crkva) in Skoplje, the new Hilandar church, Theotokos of Ljevis (Lyevish, Bogorodica Ljeviska) in Prizren, Old Nagoricano (1313, Nagorichano, Staro Nagoricano), Banjska (Banyska, 1313-1317), Gracanica (Grachanytsa, 1315), The Holy Archangels (1311, Sveti Arhandjeli) in Jerusalem. King Stefan Decanski built monastery Decani (1327-1331, Dechany).


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Ivana Todorović

Ivana Todorović je rediteljka kratkih socijalno angazovanih dokumentarnih filmova, koje je pravila u Beogradu i Njujorku. Filmovi „Ja kada sam bila klinac, bila sam klinka“, „A Harlem Mother“, „Rapresent“ i „Svakodnevica romske dece iz bloka 71“ prikazani su na preko 100 internacionalnih filmskih festivala poput 63. Festivala u Berlinu, Berlinale Shorts; IFF Rotterdam, The Traverse City Film Festival (festival Michael Moore-a), Palm Springs Shorts, Sarajevo Film Festival; Anthology Film Archive u Njujorku i Cultura Contemporiana de Barcelona. Nagradjivani su na festivalima u Srbiji, Kosovu, Americi, Rusiji, Italiji, Kanadi.

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Sailors of the Sky

A conversation with Fr. Stamatis Skliris and Fr. Marko Rupnik on contemporary Christian art

In these timely conversations led by Fr. Radovan Bigovic, many issues are introduced that enable the contemporary reader to deepen and expand his or her understanding of the role of art in the life of the Church. Here we find answers to questions on the crisis of contemporary ecclesiastical art in West and East; the impact of Impressionism, Expressionism, Cubism, Surrealism and Abstract painting on contemporary ecclesiastical painting; and a consideration of the main distrinction between iconography and secular painting. The dialogue, while resolving some doubts about the difference between iconography, religious painting, and painting in general, reconciles the requirement to obey inconographic canons with the freedom essential to artistic creativity, demonstrating that obedience to the canons is not a threat to the vitatlity of iconography. Both artists illumine the role of prayer and ascetisicm in the art of iconography. They also mention curcial differences between iconography in the Orthodox Church and in Roman Catholicism. How important thse distinctions are when exploring the relationship between contemporary theology and art! In a time when postmodern "metaphysics' revitalizes every concept, these masters still believe that, to some extent, Post-Modernism adds to the revitatiztion of Christian art, stimulating questions about "artistic inspiration" and the essential asethetic categories of Christian painting. Their exceptionally wide, yet nonetheless deep, expertise assists their not-so-everday connections between theology, ar, and modern issues concerning society: "society" taken in its broader meaning as "civilization." Finally, the entire artistic project of Stamatis and Rupnik has important ecumenical implications that aswer a genuine longing for unity in the Christian word.

The text of this 94-page soft-bound book has been translated from the Serbian by Ivana Jakovljevic, Fr. Gregory Edwards, and Andrijana Krstic. Published by Sebastian Press, Western American Diocese of the Serbian Orthodox Church, Contemporary Christian Thought Series, number 7, First Edition, ISBN: 978-0-9719505-8-0