Relevant bibliographies by topics / Coptic icons

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Coptic icons'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Coptic icons"

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El Gendi, Yosra, and Marco Pinfari. "Icons of contention: The iconography of martyrdom and the construction of Coptic identity in post-revolutionary Egypt." Media, War & Conflict 13, no. 1 (September 18, 2019): 50–69. http://dx.doi.org/10.1177/1750635219866137.

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This article explores the changing iconography of martyrdom in Coptic religious icons in recent decades, with particular emphasis on the years that followed the 2011 Tahrir revolution and its role in articulating a more contentious version of Coptic identity vis-à-vis the Muslim majority in Egypt. The authors analyse the iconographical and iconological symbolism of the work of leading artists belonging to the so-called neo-Coptic school, focusing specifically on Victor Fakhoury’s icon of The Martyrs of Maspero and the interaction between Christian and Pharaonic imagery in his ‘New Martyrs’ series. The article argues that the presence of Pharaonic imagery in icons that portray episodes of collective martyrdom is designed to make the martyrs appear as true Egyptians. This portrayal, in turn, reinforces the so-called ‘sons of Egypt’ narrative – the suggestion that Copts are the direct descendants of ancient Egyptians and that they have a strong claim to Egyptian-ness. As such, these icons reflect an increasingly explicit attempt by the Coptic community to frame its identity in opposition to the Muslim majority and, in the process, to contest the content and meaning of Egyptian nationalism during a (failed) democratization process.
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Baligh, Randa, and Mostafa Shalaby. "A Comparison between Coptic Icons in Christian Churches and the Icons of the Monastery of St. Catherine in Sinai." Bulletin of the Center Papyrological Studies 31, no. 1 (January 1, 2014): 1–27. http://dx.doi.org/10.21608/bcps.2014.24309.

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Harley, James. "Gregory Taylor: Voiceband Jilt; The Desert Fathers (Jeff Kaiser, Gregory Taylor): Coptic Icons." Computer Music Journal 32, no. 2 (June 2008): 86–88. http://dx.doi.org/10.1162/comj.2008.32.2.86.

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Heyberger, Bernard. "An Armenian Artist in Ottoman Egypt. Yuhannā al-Armanī and His Coptic Icons." Arabica 56, no. 4 (2009): 466–68. http://dx.doi.org/10.1163/057053909x12475581297687.

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Sakr, Akmal A., Mohamed A. El-Shaer, Mohamed F. Ghaly, and Mahmoud E. F. Abdel-Haliem. "Efficacy of dielectric barrier discharge (DBD) plasma in decontaminating Streptomyces colonizing specific Coptic icons." Journal of Cultural Heritage 16, no. 6 (November 2015): 848–55. http://dx.doi.org/10.1016/j.culher.2015.02.003.

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Abdel-Ghani, M., H. G. M. Edwards, R. Janaway, and B. Stern. "A Raman microscopic and gas chromatographic–mass spectrometric study of two 19th century overlapping Coptic icons of Anastasy Al-Romi." Vibrational Spectroscopy 48, no. 1 (September 2008): 69–75. http://dx.doi.org/10.1016/j.vibspec.2008.02.013.

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Lang, Jacob, Despina Stamatopoulou, and Gerald C. Cupchik. "A qualitative inquiry into the experience of sacred art among Eastern and Western Christians in Canada." Archive for the Psychology of Religion 42, no. 3 (June 27, 2020): 317–34. http://dx.doi.org/10.1177/0084672420933357.

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This article begins with a review of studies in perception and depth psychology concerning the experience of exposure to sacred artworks in Roman Catholic and Eastern Orthodox contexts. This follows with the results of a qualitative inquiry involving 45 Roman Catholic, Eastern and Coptic Orthodox, and Protestant Christians in Canada. First, participants composed narratives detailing memories of spiritual experiences involving iconography. Then, in the context of a darkened room evocative of a sacred space, they viewed artworks depicting Biblical themes and interpreted their meanings. Stimuli included “Western” paintings from the Roman tradition—a selection from the Gothic, Northern Renaissance, and Renaissance canon—and matched “Eastern” icons in the Byzantine style. Spiritual experience narratives were analyzed in terms of word frequencies, and interpretations of sacred artworks were analyzed thematically. Catholics tended to utilize emotional language when recalling their spiritual experiences, while religious activity was most often the concern of Protestants, and Orthodox Christians wrote most about spiritual figures and their signifiers. A taxonomy of response styles was developed to account for participants’ interpretations of Western and Eastern artworks, with content ranging from detached descriptions to projective engagement with the art-objects. Our approach allows for representation of diverse Christians’ interpretations of sacred art, taking into consideration personal, collective, and cultural-religious sources of meaning. Our paradigm also offers to enrich our understanding of the numinous or emotional dimension of mystical contact.
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Sezer, Yavuz. "Magdi Guirguis. An Armenian Artist in Ottoman Egypt: Yuhanna al-Armani and His Coptic Icons. Cairo: American University in Cairo Press, 2008, 144 pages." New Perspectives on Turkey 43 (2010): 199–200. http://dx.doi.org/10.1017/s0896634600005860.

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Abdel-Ghani, M., B. Stern, H. G. M. Edwards, and R. Janaway. "A study of 18th century Coptic icons of Ibrahim Al-Nasekh using Raman microscopy and gas chromatography–mass spectrometry: Indigo as an organic pigment in Egyptian panel paintings." Vibrational Spectroscopy 62 (September 2012): 98–109. http://dx.doi.org/10.1016/j.vibspec.2012.05.003.

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Helmi, Fatma, Mona Abdelghani, and Shenouda Abdelmalek. "Archaeometric Investigation Of A Triptych Coptic Icon, El-Surian Monastery, Egypt." Advanced Research in Conservation Science 4, no. 2 (December 29, 2023): 31–51. http://dx.doi.org/10.21608/arcs.2023.240690.1039.

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Dissertations / Theses on the topic "Coptic icons"

1

Joumaa, Jamal. "The influence of the icon in contemporary Egyptian art." Thesis, View thesis View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/229.

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The icon represents a great part of the heritage of Christian arts in Egypt. In this thesis the early stages of iconic art are studied to find out the influential factors leading to the formation of the icon as it is now. The Coptic icon in particular is studied, both the icon itself and how it differs from the Byzantine icon. The religious factor is focussed on as an effective and modelling element in defining the icon, and the symbols are studied in order to go back to their historical roots. This study also aims at tracing the phenomenon of iconic art, by studying its characteristics and the works themselves and by clarifiying the iconic symbols as part of the cultural and creative activity. The important artworks in iconic art are analysed, and the effect of iconic art on human and social life is shown
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Joumaa, Jamal. "The influence of the icon in contemporary Egyptian art." View thesis View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030506.114529/index.html.

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Joumaa, Jamal, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "The influence of the icon in contemporary Egyptian art." THESIS_CAESS_CAR_JOUMAA_J.xml, 2002. http://handle.uws.edu.au:8081/1959.7/229.

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The icon represents a great part of the heritage of Christian arts in Egypt. In this thesis the early stages of iconic art are studied to find out the influential factors leading to the formation of the icon as it is now. The Coptic icon in particular is studied, both the icon itself and how it differs from the Byzantine icon. The religious factor is focussed on as an effective and modelling element in defining the icon, and the symbols are studied in order to go back to their historical roots. This study also aims at tracing the phenomenon of iconic art, by studying its characteristics and the works themselves and by clarifiying the iconic symbols as part of the cultural and creative activity. The important artworks in iconic art are analysed, and the effect of iconic art on human and social life is shown
Master of Arts (Hons)
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Abdel-Ghani, Mona H., Howell G. M. Edwards, Ben Stern, and Robert C. Janaway. "Characterization of paint and varnish on a medieval Coptic-Byzantine icon: Novel usage of dammar resin?" Elsevier, 2009. http://hdl.handle.net/10454/4712.

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A comprehensive study has been undertaken into a 13th century Coptic-Byzantine icon from the St. Mercurius Church, St. Mercurius monastery, Old Cairo, Egypt. The layered structure, pigment composition and varnish identification were revealed by means of optical and Raman microscopy and gas chromatography¿mass spectrometry (GC¿MS). The structure of the icon comprised six layers; wooden panel, canvas, white ground, two bole layers and a single paint layer. Azurite (2CuCO3·Cu(OH)2), cinnabar (mercuric (II) sulfide ¿-HgS), yellow ochre (Fe2O3·H2O), hydromagnesite Mg5(CO3)4(OH)2·4H2O and lamp black (carbon, C) are the pigments identified in the icon. The green paint area is of interest as it is applied neither with a green pigment nor with a mixture of a blue and yellow pigment. Instead, a yellow layer of dammar resin was applied on top of blue azurite to obtain the green colour. Pinaceae sp. resin mixed with drying oil was used as a protective varnish.
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Auber, Julien. "Yūḥannā al-Armanī al-Qudsī et le renouveau de l'art de l’icône en Égypte ottomane." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEP051.

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Actif de 1740 à 1786, année de sa mort, Yūḥannā al Armanī al-Qudsī fut l’un des plus prolifiques peintres d’icônes que l’Égypte ottomane ait pu connaître. Bénéficiant d’un renouveau politique et économique, les chrétiens d’Égypte ont pu restaurer et mettre en valeur leur patrimoine religieux, notamment en faisant réaliser de nombreuses icônes pour décorer les églises. Yūḥannā al Armanī et son proche collègue Ibrāhīm al-Nāsiḫ répondirent à cet appel en développant de grands ateliers prêts à répondre à ces commandes. Le résultat est si spectaculaire que, encore aujourd’hui, il est difficile de ne pas visiter une église copte du Caire sans voir un panneau réalisé par l’un ou l’autre de ces hommes. La réunion d’un corpus de plus de quatre cents icônes permet désormais d’envisager l’ampleur du travail qui résulta de ce tandem. Le style des peintres est également ce qui fait la grande originalité de cette production. Souvent indéfinissable, comme le remarquait déjà en son temps A. J. Butler à la fin du XIXe siècle, celui-ci illustre les multiples sources qui ont été utilisées. On y trouve à la fois, pêle-mêle, des inspirations des traditions chrétiennes locales, des évocations de tissus ottomans ou des compositions issues de tableaux européens. Cette particularité tient dans un fait bien concret. Yūḥannā al Armanī, comme son nom l’indique, est issu d’une famille arménienne. Bien qu’étant né en Égypte et ayant épousé une Égyptienne copte, il n’en demeure pas moins très attaché à ses racines, aussi bien par son lieu d’habitation au Caire – proche de l’église arménienne – que par la sociabilité qu’il développe. Afin de mieux cerner ce peintre atypique et son œuvre, il convient de cerner les réseaux qui existent au Caire dans la seconde moitié du XVIIIe siècle. Ses sources d’inspiration ont ainsi pu notamment être découvertes au détour d’ouvrages liturgiques imprimés en Europe ou à la Nouvelle-Djoulfa et retrouvés dans la bibliothèque des pères franciscains du Mūski au Caire. Comprendre l’art de Yūḥannā al Armanī permet ainsi de mieux cerner la diffusion des iconographies chrétiennes en Afrique et au Proche-Orient, voguant, au gré des courants de la mer Méditerranée. Son œuvre montre qu’il n’est pas simplement entre Orient et Occident, il est au croisement de circulations complexes qui font éclater cette problématique
Active from 1740 to 1786, the year of his death, Yūḥannā al Armanī al-Qudsī was one of the most prolific icon painters that Ottoman Egypt has ever known. Benefiting from a political and economic renewal, the Christians of Egypt have been able to restore and enhance their religious heritage, in particular by having many icons made to decorate churches. Yūḥannā al Armanī and his close colleague Ibrāhīm al-Nāsiḫ responded to this call by developing large workshops ready to respond to these orders. The result is so spectacular that, even today, it is difficult not to visit a Coptic church in Cairo without seeing a panel made by one or the other of these men. The gathering of a corpus of more than four hundred icons now makes it possible to consider the extent of the work that resulted from this tandem. The style of the painters is also what makes this production so original. Often undefinable, as already noted in his time A. J. Butler at the end of the 19th century, this one illustrates the many sources that have been used. There are both, jumbled together, inspirations from local Christian traditions, evocations of Ottoman fabrics or compositions from European paintings. This particularity is based on a very concrete fact. Yūḥannā al Armanī, as its name suggests, comes from an Armenian family. Although he was born in Egypt and married a Coptic Egyptian, he remains very attached to his roots, both by his place of residence in Cairo - close to the Armenian church - and by the sociability he develops. In order to better understand this atypical painter and his work, it is necessary to understand the networks that existed in Cairo in the second half of the 18th century. His sources of inspiration have been discovered in liturgical works printed in Europe or New Julfa and found in the Franciscan's Library at Mūski in Cairo. Understanding the art of Yūḥannā al Armanī thus makes it possible to better understand the diffusion of Christian iconographies in Africa and the Near East, sailing, according to the currents of the Mediterranean Sea. His work shows that he is not simply between East and West, he is at the crossroads of complex circulations that make this problem explode
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Abdel-Ghani, Mona H. "A Multi-instrument Investigation of Pigments, Binders and Varnishes from Egyptian Paintings (AD 1300-1900): Molecular and Elemental Analysis Using Raman, GC-MS and SEM-EDX Techniques." Thesis, University of Bradford, 2009. http://hdl.handle.net/10454/4315.

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The focus of this study was analytical investigations of Egyptian paintings, mainly Coptic icons and Islamic wooden ceilings, dating from 1300-1900 using multiinstrumental techniques. Twenty three Coptic icons and three wooden ceilings dated from different periods and painted by different painters in case of icons were examined. The materials used including pigments, media, varnishes, ground layers and gold layers. The surface stratigraphy of paint samples, their layered structured and the composition of materials used in each layer were analysed. Variations in painting techniques, pigments palettes, paint media and varnishes applied in Egyptian paintings according to painters, time and type of paintings were revealed. A total of twenty-eight organic and inorganic pigments were identified in this study, of which nine have never been previously included as a part of the Egyptian pigment palettes, namely; smalt, lapis lazuli, indigo, pararealgar, Prussian blue, chrome yellow, barium yellow, barium white and hydromagnesite. The identification of hydromagnesite, which has never been to date considered as a pigment either in Egypt or elsewhere and the identification of smalt from the mid-14th century, whose reported earliest large scale use was in the 16th century. Two types of resins were identified as a constituent of the oil/resin varnish applied on Coptic icons of which Venice turpentine has been identified for the first time as an ingredient of Egyptian varnishes. The identification of mosaic gold in an 18th C. icon, a novel usage of dammar resin and the multilayered structure of the white ground layers were revealed.
Egyptian Ministry of Higher Educations
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Abdel-Ghani, Mona Hussien. "A multi-instrument investigation of pigments, binders and varnishes from Egyptian paintings (AD 1300-1900) : molecular and elemental analysis using Raman, GC-MS and SEM-EDX techniques." Thesis, University of Bradford, 2009. http://hdl.handle.net/10454/4315.

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The focus of this study was analytical investigations of Egyptian paintings, mainly Coptic icons and Islamic wooden ceilings, dating from 1300-1900 using multi-instrumental techniques. Twenty three Coptic icons and three wooden ceilings dated from different periods and painted by different painters in case of icons were examined. The materials used including pigments, media, varnishes, ground layers and gold layers. The surface stratigraphy of paint samples, their layered structured and the composition of materials used in each layer were analysed. Variations in painting techniques, pigments palettes, paint media and varnishes applied in Egyptian paintings according to painters, time and type of paintings were revealed. A total of twenty-eight organic and inorganic pigments were identified in this study, of which nine have never been previously included as a part of the Egyptian pigment palettes, namely; smalt, lapis lazuli, indigo, pararealgar, Prussian blue, chrome yellow, barium yellow, barium white and hydromagnesite. The identification of hydromagnesite, which has never been to date considered as a pigment either in Egypt or elsewhere and the identification of smalt from the mid-14th century, whose reported earliest large scale use was in the 16th century. Two types of resins were identified as a constituent of the oil/resin varnish applied on Coptic icons of which Venice turpentine has been identified for the first time as an ingredient of Egyptian varnishes. The identification of mosaic gold in an 18th C. icon, a novel usage of dammar resin and the multilayered structure of the white ground layers were revealed.
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Hugo-Favot, Noëlle. "Catéchèse par l’image chez les Chrétiens du Nil." Thesis, Université de Lorraine, 2019. http://www.theses.fr/2019LORR0341.

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A une époque où l’image règne en maître et modèle profondément les habitudes de vie et le mode de pensée, l’image de la foi qu’est l’icône, devient un critère de vérité. Toute religion est porteuse d’une vision de l’au-delà et décide de la possibilité de représenter le divin. La religion copte orthodoxe d’Égypte et d’Éthiopie a multiplié les peintures du Christ dans les monastères et les églises. L’image renvoie toujours au prototype et au Christ lui-même ainsi que le dit Paul : “ Il est l’image du Dieu invisible”. Au vu des différentes icônes coptes, photographiées au cours de séjours en Égypte et en Éthiopie, il sera possible de faire découvrir que, depuis les premiers siècles jusqu’à ce jour, l’un des buts principaux de l’image sainte est l’évangélisation. À partir du IVe siècle, les images commémoratives des évènements bibliques et historiques des Églises du Nil, jouent un rôle important pour la connaissance de la Tradition vivante de ces Églises. Les portraits du Christ, de Marie et des saints sont des objets cultuels et des sacramentaux ecclésiastiques qui amènent le chrétien sur le chemin du salut. L’image du Christ, Verbe Incarné, conduit à Dieu et révèle aussi la beauté de la création au travers des arts, des peintures en particulier. Pour les chrétiens du Nil, comme pour les chrétiens des autres Églises orientales, l’image est considérée comme “ une sainte image” et non comme “ une image sainte”. Enfin, pour les croyants coptes orthodoxes, le Christ, qui se laisse approcher par la beauté de son image, est un modèle de vie et de spiritualité, à l’origine du monachisme égyptien et éthiopien qui tire sa source de l’Évangile. La connaissance des différents moments de la vie du Christ présentée sur les murs des édifices religieux, a une dimension missionnaire et évangélique. La voie de la foi, pour Benoit XVI, est une voie pastorale : “ Il n’y a rien de plus beau que d’être rejoints par l’Évangile, par le Christ” c’est pourquoi, elle est proposée par les Églises Égyptienne et Éthiopienne
At the time when the reign of the image is considered masterfully and profoundly as patterns of lifestyle and way of thinking, the image of the faith which is the icon, becomes the criterion of truth. Each religion carries a vision from the beyond and what might represent the divine. In the Coptic Orthodox Church, the multiple paintings depicting the Christ were developed in monasteries and churches. The image always refers to the prototype and to the Christ himself as said Paul « The Son is the image of invisible God ». From the earliest centuries, the main goal of the holy picture is the evangelisation as shown by coptic icons photographed in Egypt or Ethiopia. From the fourth century, the commemorative pictures of biblical or historical events of the Churches of the Nile, play a significant role in the knowledge of Living Tradition in these churches.The portrait of Christ, Mary and all Saints are religious objects and ecclesiastical sacramentals. Their role is to get christians to the path of salvation. For the christians of the Nile valley, as for the christians of the other oriental churches, the image is considered as “a holy representation” and not as “ a sacred picture”. The origin of the egyptian and ethiopian monachism, inspired by Gospel, is the Christ's way of life. For Benoît the XVIth, the way of faith is a pastoral one : « There nothing more beautiful than being joined by the Gospel, by the Christ ». This is the reason why, egyptian and Ethiopia churches are following this way
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Steyn, Raita. "Christian divine, holy and saintly protection of African rulers in the Byzantine ‘Coptic’ iconographic tradition." Thesis, 2014. http://hdl.handle.net/10210/12506.

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This thesis deals with the Christian divine, holy and saintly protection of African rulers in the Afro-Byzantine ‘Coptic’ (mainly Nubian and Ethiopian) iconographic tradition. The term ‘icon’ is used in its Byzantine Orthodox meaning as “a theological art picture; a religious, sacred image”, according to the theological and artistic Byzantine prescriptions.1 The term is also applied to frescos, murals, mosaics, larger wooden panels, illustrations in manuscripts and scrolls and smaller items such as protective amulets and charms, depicting a Christian holy representation. The iconographic themes, representing authority and its preservation and protection will be discussed, analysed and examined, the two coefficients being authority and protection of royals and their deputies and officials (i.e. the ‘protected’) on the one hand, and on the other hand Christ, the Holy Virgin, angels, military and non-military saints, supernatural and holy beings (i.e. the ‘protectors’). Firstly, a historical overview of the Byzantine and Afro-Byzantine Orthodox society in terms of religious, social, cultural and political influences is presented and the importance of Orthodox iconography and hagiography and the transformation of local Afro-Byzantine themes are analysed. As such, once the conversion from paganism to Christianity took place in Africa, influences of the Byzantine iconography and hagiography were transformed and integrated with local African Orthodox themes. Byzantine ideology and political theory as well as their relevance for the Coptic-Egyptian, Nubian and Ethiopian context have been discussed, while the artistic and symbolic iconographic representations of the Byzantine (and Medieval Afro-Byzantine) periods...
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Books on the topic "Coptic icons"

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Atalla, Nabil Selim. Coptic icons. Cairo, Egypt: Lehnert & Landrock, 1998.

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H, Hondelink, and Netherlands Institute of Archaeology and Arabic Studies in Cairo., eds. Coptic art and culture. Cairo: Shouhdy Pub. House, 1990.

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Matḥaf, al-Qibṭī (Cairo Egypt). Catalogue général du musée Copte: The icons. [Cairo]: Supreme Council of Antiquities, Leiden University, Dept. of early christian art, 1992.

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Egypt), Matḥaf al-Qibṭī (Cairo. Catalogue général du Musée copte: The icons. Edited by Moorsel Paul van 1931-, Hondelink H. (Hans), Majlis al-Aʻlá lil-Āthār (Egypt), and Rijksuniversiteit te Leiden. Department of Early Christian Art. [Cairo, Egypt]: Supreme Council of Antiquities, 1994.

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Bernadette, Sadek, ed. L'incarnation de la lumière: Le renouveau iconographique copte à travers l'oeuvre de Isaac Fanous. Limoges: Monde copte, 2000.

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Hirmīnā, Jamāl. Rawāʼiʻ min al-Matḥaf al-Qibṭī. [Cairo]: Trīntī, 2013.

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Elias, Zayat, Immerzeel Mat, and Saliby Nessib, eds. Documentation and conservation of art in Syria: Papers of the workshop held at Damascus University, 16-19, September 1996. Leiden: Research School for African, Asian, and Amerindian Studies, Leiden University, 2000.

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Coptic icons = Les icônes coptes = Koptische Ikonen. Cairo, Egypt: Lehnert & Landrock, 1986.

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An Armenian Artist In Ottoman Egypt Yuhanna Alarmani And His Coptic Icons. American University in Cairo Press, 2008.

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Selections from the Egyptian heritage icons of the Coptic Museum: Mukhtārāt min al-turāth al-Miṣrī ayqūnāt al-Matḥaf al-Qibṭī. Egypt: Ministry of Culture, Cultural Development Fund, 2000.

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Book chapters on the topic "Coptic icons"

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Moussa, Helene. "“Women in the Life of Christ”: Narrative Icons by Marguerite Nakhla in St. Mary’s Coptic Orthodox Church, Zamalek." In Journal of the Canadian Society for Coptic Studies (Volume 1), edited by Ramez Boutros, 97–108. Piscataway, NJ, USA: Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463224974-011.

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Moussa, Helene. "Coptic Icons:." In Studies in Coptic Culture, 155–72. The American University in Cairo Press, 2016. http://dx.doi.org/10.2307/j.ctv2ks721h.16.

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Moussa, Helene. "Icons as Social Statements:." In Coptic Culture and Community, 261–80. The American University in Cairo Press, 2024. http://dx.doi.org/10.2307/jj.809342.17.

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Simaika, Samir, and Nevine Henein. "A New Museum." In Marcus Simaika. American University in Cairo Press, 2017. http://dx.doi.org/10.5743/cairo/9789774168239.003.0016.

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This chapter discusses Marcus Simaika's role in the establishment of the Coptic Museum. It was in 1908 that Simaika made his first attempt to start a small Coptic museum. While engaged in the repair and restoration of the ancient churches as a member of the Comité, Simaika had collected a large quantity of interesting carved wood and stone fragments. He had asked Patriarch Cyril V for permission to move the objects he had collected, along with any spare icons, manuscripts, and carved wooden screens, into two rooms adjoining the Muʻallaqa Church in Old Cairo. When it was constructed, the Coptic Museum filled a gap in the chronology of Egyptian history and culture, and with its foundation Egypt finally had museums grouping together the antiquities of each of the four main periods of its history.
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Guirguis, Magdi. "Egyptian Icons before Yuhanna al-Armani." In An Armenian Artist in Ottoman CairoYuhanna al-Armani and His Coptic Icons, 39–48. American University in Cairo Press, 2008. http://dx.doi.org/10.5743/cairo/9789774161520.003.0004.

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Gabra, Gawdat. "Fayoum Portraits and their Influence on the First Coptic Icons." In Christianity and Monasticism in the Fayoum Oasiss, 247–55. American University in Cairo Press, 2005. http://dx.doi.org/10.5743/cairo/9789774248924.003.0021.

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Guirguis, Magdi. "Icon-painting in Eighteenth-century Egypt." In An Armenian Artist in Ottoman CairoYuhanna al-Armani and His Coptic Icons, 17–38. American University in Cairo Press, 2008. http://dx.doi.org/10.5743/cairo/9789774161520.003.0003.

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8

Hanna, Nelly. "Introduction." In An Armenian Artist in Ottoman CairoYuhanna al-Armani and His Coptic Icons, 1–6. American University in Cairo Press, 2008. http://dx.doi.org/10.5743/cairo/9789774161520.003.0001.

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9

Guirguis, Magdi. "The Background." In An Armenian Artist in Ottoman CairoYuhanna al-Armani and His Coptic Icons, 7–16. American University in Cairo Press, 2008. http://dx.doi.org/10.5743/cairo/9789774161520.003.0002.

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10

Guirguis, Magdi. "The Armenian Community in Egypt." In An Armenian Artist in Ottoman CairoYuhanna al-Armani and His Coptic Icons, 49–60. American University in Cairo Press, 2008. http://dx.doi.org/10.5743/cairo/9789774161520.003.0005.

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