Bishop Firmilijan (Ocokoljić)

Te Right Reverend Dr. Firmilian, Bishop of the Serbian Orthodox Diocese of Midwestern America, was born on the Feast of the Nativity of Christ, according to the Julian Calendar, on the 7th of January 1910. Born into a clerical family in Kaona, Serbia, he was the son of many generations of priests, specifically, born in the family of the protopresbyter Uros Ocokoljich and his mother, Darinka, nee Plazinic, also the daughter of a priest. To the delight of this family, the parents were blessed with the birth of twins, named at baptism, Stanko (later, Firmilian) and Ranko. Stanko was the tenth child.

Having completed his elementary (in the place of his birth) and secondary education (Gymnasium, High School, in Čačak,) young Stanko was admitted into the Orthodox Seminary in Sarajevo, Bosnia, from where he graduated in the year 1930. After having served the Armed Forces of his country, Stanko was married to Nadežda Popović. Following their marriage, Stanko was ordained to the diaconate and then to the priesthood, being assigned as assistant to his father, protopresbyter Uroš, in the Village of Kaona. He was ordained to priesthood in 1930 by Bishop Jefrem Bojović, brother of well-known Vojvoda Petar Bojović. Tragically, within the first year of his marriage, Father Stanko lost both his wife and son, during childbirth.

Sailors of the Sky

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

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