Ове по­дат­ке, ко­ји до са­да ни­су по­зна­ти на­шој сре­ди­ни, из­но­си Иван Де­лач, ан­гли­ста и пре­во­ди­лац из Бе­о­гра­да ко­ји се на­кон пре­во­ђе­ња три­ло­ги­је о Ми­ле­ни Ба­ри­ли, чи­ји је уред­ник Зо­ри­ца Ста­бло­вић Бу­ла­јић, у из­да­њу ку­ће „Хе­спе­риа еду”, пре не­ко­ли­ко го­ди­на за­ин­те­ре­со­вао за да­ље ис­тра­жи­ва­ње жи­во­та и ра­да на­ше сли­кар­ке. Де­лач је пре­во­дио књи­ге за СА­НУ и На­род­ни му­зеј, а са­да пи­ше сце­на­рио, на ен­гле­ском је­зи­ку, за филм о Ми­ле­ни Ба­ри­ли (По­жа­ре­вац, 1909 – Њу­јорк, 1945).

Ис­тра­жу­ју­ћи га­ле­ри­је ко­је су по­сто­ја­ле че­тр­де­се­тих го­ди­на 20. ве­ка, у вре­ме ка­да је Ми­ле­на жи­ве­ла у Њу­јор­ку, Иван Де­лач на­и­ла­зи на по­да­так о „Из­ло­жби 31 же­не”. Сту­па у кон­такт са бри­тан­ском исто­ри­чар­ком умет­но­сти Су Гил­берт ко­ја је об­ја­ви­ла блог о сва­кој од уче­сни­ца из­ло­жбе. Она му је по­сла­ла ли­сту из­ло­же­них де­ла, а исти спи­сак Де­лач је про­на­шао и у јед­ном до­ку­мен­тар­цу о Пе­ги Гу­ген­хајм. По­твр­ду о Ми­ле­ни­ном уче­шћу на овој из­ло­жби на­шао је и у ра­ду Кет Ба­кли, исто­ри­чар­ке умет­но­сти из Бал­ти­мо­ра, а по­да­так сто­ји и на Ви­ки­пе­ди­ји на ен­гле­ском је­зи­ку.

by Fionn Zarubica

The clothes we wear today are very different from the clothes we wore 2000 years ago; but, in the Christian Orthodox church, the clothes the priests wear are almost exactly the same. These clothes are called vestments. The word vestment comes from the Latin word vestis, which means garment.

During the time of the Apostles, when the Christian church was being established, there was no difference between the clothes worn for everyday life and the clothes worn for celebration of the sacraments. This was not only because formal vestments had not been established, but also because during that time, Christians were being persecuted and did not wish to draw attention to themselves.

In the fourth century, Constantine the Great fought and won a major battle at the Milvian Bridge, became the first Christian Roman Emperor and established Constantinople, the “New Rome” at Byzantium. Under his rule Christians were able to practice their faith openly, and the church fathers began to call for a formal manner of dress for clergy in service to the church.

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)

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.

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.

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

The 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.