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

The Textiles of the Christian Orthodox Church

A Brief History For Young Readers

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.

What we consider today as traditional clergy dress is based on Roman dress of the 3rd and 4th century, although some time elapsed before the everyday garment of that time came to be regarded without any doubt as a liturgical vestment, worn specially for the celebration of the liturgy. Over time the dress of ordinary life changed, and there emerged a noticeable difference between the dress of the clergy and the people. Monastic orders were different from them both.

When Justinian I became Emperor, in 527 CE, liturgical vestments, particularly those of the bishops, began to imitate the dress of the Emperor’s court. Silks were used to make the finest vestments. Until that time, silk was imported from Sogdiana in Central Asia and the Sassanian Empire in Persia. But Persia was a chief enemy of the Byzantine Empire, and supplies of silk were always in peril. Because silk was such a valuable article of trade, this was of great concern to Justinian. It is said that one day two monks came to Justinian by way of India, and offered to provide him with the eggs of the silkworm. They also offered to teach his people to produce their own silk, a process called sericulture. Seeing that he would never have to be dependent on his enemies the Persians again, Justinian accepted the Monks’ offer and thus silk production was established in the Byzantine Empire. The Byzantine Empire became famous and wealthy because of its silks, and the churches were well supplied with materials for their vestments.

The Byzantines were not only famous for their silks, but for their embroideries as well. They were most renowned for their technique with gold embroidery, which they preferred over colored thread embroidery. It is said that they were masters at releasing the fire from within the gold when lit by church candles. Thanks to the support of Justinian I, Constantinople became a center for the textile arts for the next 900 years.

It is not only in the vestments that we see special textiles for the church. Woven and decorated textiles were highly prized. Silks with Christian scenes were in great demand as wall hangings, coverings for the holy table, holy relics, and other sacred elements; as well as the veil used to decorate the sanctuary and the curtain for the door of the iconostasis, which was used to shield the altar from public gaze during the most sacred moments in the liturgy.

Although the vestments of the Orthodox Church have their origins in the ordinary, they have become something quite extraordinary. Practical garments and precious works of art, everyday clothing and symbols of devotion. Their beauty reflects heaven on earth; each thread a prayer that unites us with one another across all boundaries of space and time.

Love is all that matters!

Image:
Sakkos of the Bishop of Melenikon Ioannikios
Date: 18th century
Medium: Silk, linen, gold and silver
Accession Number: ΒΥΦ 58
Museum of Byzantine Culture, Thessaloniki, Greece

Source: Heal To Be - a blog about personal culture


SA

 

People Directory

Ivan Aksentijevich

Ivan Aksentijevich earned his Medical Doctor Degree from the University of Belgrade, Serbia in 1986. He moved to the United States with his wife Ivona in 1989. Between 1989 and 1996, he completed two post-doctoral fellowships at the National Institutes of Health in Bethesda, MD. He went on and did a residency in Internal Medicine at St Agnes Hospital in Baltimore, MD, and followed this with fellowships in both Hematology and Medical Oncology at Johns Hopkins University Hospital, Baltimore, MD. He is a senior partner and member of the Executive Committee with the Virginia Cancer Specialists, in Alexandria, VA.  He holds the Chair of the Cancer Committee at Alexandria Hospital and is a primary investigator on several clinical trials. His main clinical interrests are in the field of hematologic malignancies.

.

Read more ...

Publishing

On Divine Philanthropy

From Plato to John Chrysostom

by Bishop Danilo Krstic

This book describes the use of the notion of divine philanthropy from its first appearance in Aeschylos and Plato to the highly polyvalent use of it by John Chrysostom. Each page is marked by meticulous scholarship and great insight, lucidity of thought and expression. Bishop Danilo’s principal methodology in examining Chrysostom is a philological analysis of his works in order to grasp all the semantic shades of the concept of philanthropia throughout his vast literary output. The author overviews the observable development of the concept of philanthropia in a research that encompasses nearly seven centuries of literary sources. Peculiar theological connotations are studied in the uses of divine philanthropia both in the classical development from Aeschylos via Plutarch down to Libanius, Themistius of Byzantium and the Emperor Julian, as well as in the biblical development, especially from Philo and the New Testament through Origen and the Cappadocians to Chrysostom.

With this book, the author invites us to re-read Chrysostom’s golden pages on the ineffable philanthropy of God. "There is a modern ring in Chrysostom’s attempt to prove that we are loved—no matter who and where we are—and even infinitely loved, since our Friend and Lover is the infinite Triune God."

The victory of Chrysostom’s use of philanthropia meant the affirmation of ecclesial culture even at the level of Graeco-Roman culture. May we witness the same reality today in the modern techno-scientific world in which we live.