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Journal articles on the topic 'Jerusalem icon'

Author: Grafiati

Published: 5 June 2025

Last updated: 1 August 2025

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1

Katić, Marko. "Depiction of the Church of the Holy Sepulchre on a Jerusalem icon from Ružica Church: An example of visual culture in the context of religious practice." Nasledje, no. 21 (2020): 191–207. http://dx.doi.org/10.5937/nasledje2021191k.

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Among but few icons brought back home by hajjis from their pilgrimage to Jerusalem (hence the name jerusalems) preserved in Belgrade, the one that stands out for its peculiarity and relatively early origin is the 1819 icon kept in Ružica Church in Kalemegdan. The most important element of the icon is the depiction of the Church of the Holy Sepulchre in Jerusalem. This paper presents and analyses numerous peculiarities of this depiction, before all by comparing its iconography and style with the usual kind of the Jerusalem pilgrimage icons of the same age. Th icon painter's method is additional

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Abd El Baky, Alyaa M. M., Emil Henin, and Nesrin M. N. El Hadidi. "A Jerusalem-style Icon from Delta, Egypt." مجلة الفنون والعلوم الانسانية 8, no. 15 (2025): 456–69. https://doi.org/10.21608/mjas.2025.381974.1317.

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Shapovalov, M. S. "New Jerusalem: A spatial iconin Belgorod region in the 21st century." Journal of Visual Theology 5, no. 2 (2023): 191–207. http://dx.doi.org/10.34680/vistheo-2023-5-2-191-207.

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The article discusses modern projects for creating architectural and landscape cop-ies of the Holy Land in Russia known as New Jerusalems. The author draws attention to the recent revival of such projects in the 21st century. This paper describes one project of this kind in the village of Sukharevo, Belgorod region, entitled ‘The City of Salvation New Jerusalem’. The author aims to analyze the process of re-creating the Holy Land toponymy in the layout of this New Jerusalem and to determine its intertextual connections with other similar pro-jects. The research relies on the methodological app

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Abou Ackl, Rand. "Kharetat al mousafer, an 18th-century proskynetarion of Jerusalem and The Holy Land from Saydnaia." Chronos 40 (January 6, 2020): 95–118. http://dx.doi.org/10.31377/chr.v40i.640.

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In this article, I discuss a proskynetarion icon of the Holy Land and Jerusalem, called the Kharetat al mousafer, located in Saydnaia Monastery in Syria. The relationship between pilgrimages and proskynetaria, which served as a tool of Christian propaganda, will be discussed with a focus on the Saydnaia proskynetarion as a case study, showing the way of the Melkite painter, Issa al-Qudsi depicted the Holy Land topography. In this icon, the Holy Sepulchre (Church of Resurrection) was also represented, opening a discussion around proskynetaria in Syria during the eighteenth century.

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Plamen, Sabev. "ЙЕРУСАЛИМИЯ ОТ ЦЪРКВАТА "СВ. ГЕОРГИ" В АРБАНАСИ/ A JERUSALEM ICON FROM THE CHURCH OF ST. GEORGE IN ARBANASY". EPOHI [EPOCHS] Edition of the Department of History of "St. Cyril and St. Methodius" University of Veliko Tarnovo Issue 2, XXIII, 2015 (2022): 419–27. https://doi.org/10.5281/zenodo.6590928.

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In 2011, I came across a Jerusalem type of icon in the chapel of the “St.  Demetrius” church in Arbanasy.  Due to the long-term exposure to humidity and dust, it needed an urgent restoration and conservation. However, in the museum data it was signed that the place of origin of the icon was the church of St. George in Arbanasy. After a research over older photographic documents, I’ve found that the icon was hang on the wall of the nave of this church, and eventually, due to the church’s closure for restoration, it was moved in the chapel of St. Demetrius churc

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Buko, Andrzej, Tomasz Dzieńkowski, Stanisław Gołub, et al. "Fragments of a steatite icon (diptych wing) with the Great Feasts cycle excavated in Chełm (eastern Poland)." Byzantinische Zeitschrift 114, no. 1 (2021): 111–38. http://dx.doi.org/10.1515/bz-2021-9005.

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Abstract The paper presents fragments of a Byzantine icon discovered in 2015 during regular archaeological excavations carried out in Chełm, eastern Poland. Iconographic analyses allow the nine surviving fragments to be interpreted as belonging to a diptych wing with the Great Feasts cycle. The icon represents archaic iconography of the subject, with the scene of Transfiguration placed after Entry into Jerusalem and before the Crucifixion. The artefact was created in the second half or at the close of the 12th century, and it was made from steatite, which has been confirmed by petrographic ana

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Jacobs, A. "De Icoon van de Intocht in Jeruzalem." Het Christelijk Oosten 50, no. 1-2 (1998): 89–108. http://dx.doi.org/10.1163/29497663-0500102006.

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The icon of the Entry into Jerusalem The first images of the Entry into Jerusalem are to be found on the sarcophagi dating back to the fourth and fifth centuries. The most famous sarcophagus is the one of Junius Bassus (fourth century). Christ is straddling on a donkey. Starting from the sixth century Christ is riding sidesaddle. Later on He is depicted looking back at his disciples. The Entry into Jerusalem develops gradually from an essential and elementary composition into a complete story of the Entry, containing many details from the Gospels. The iconography of the Entry is more or less c

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Kain, Kevin M. "Conceptualizing New Jerusalem." Canadian-American Slavic Studies 54, no. 1-3 (2020): 134–69. http://dx.doi.org/10.30965/22102396-05401008.

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Abstract This essay re-conceptualizes Muscovite notions of New Jerusalem, by considering the practice of historical replication, including hierotopy, as a religious-political ideology. It explains why and how Tsar Fedor Alekseevich adopted and advanced the replication of the Church of the Holy Sepulcher at the Resurrection “New Jerusalem” Monastery, founded by Patriarch Nikon and his father Tsar Aleksei Mikhailovich, despite the ecumenical patriarchs’ condemnation of Nikon and his monastery in 1666 and eschatological fears promoted by Old Believers. Fedor resurrected the New Jerusalem idea in

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Demchuk, Ruslana. "The Temple Consciousness and Iconic Mindset in the Dimension of Ancient Rus Culture." NaUKMA Research Papers. History and Theory of Culture 7 (August 7, 2024): 106–17. http://dx.doi.org/10.18523/2617-8907.2024.7.106-117.

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The article deals with the organisation of the sacred space of the temple-icon and the city as a temple on the example of ancient Rus monuments in the context of the Byzantine cultural and religious tradition. Previously, the positivist model of describing the world did not see the organisation of sacred space as a subject of research. However, in many cases, the analysis of theological concepts or visual forms is insufficient, because some phenomena can be understood only at the level of ideal images (eidos). The structural design of sacred space is a hierotopic project that encompasses all i

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Lidov, A. M. "Patriarch Nikon’s hierotopy. The New Jerusalem Hermitage as a seventeenth century spatial icon." Journal of Visual Theology 5, no. 1 (2023): 46–63. http://dx.doi.org/10.34680/vistheo-2023-5-1-46-63.

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In the context of hierotopy, a discipline that studies the creation of sacred spaces as a specific spiritual and artistic creative activity, two new research problems have been pos-tulated: sacred space creators as a phenomenon, and the Holy Land re-creation as the foun-dation of medieval Christian spiritual culture. These problems determine the content of this paper where we analyze one of the Patriarch Nikon’s most original and significant hierotopic projects, that we believe to be crucial for understanding Russian culture of the 17th century. We claim that the Nikon’s Hermitage (Otkhodnaia

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Maksimova, E. V. "The contribution of M. I. Osipov, the clerk and treasurer of the Imperial Orthodox Palestinian Society, and Archimandrite Antonin (Kapustin), the head of the Russian Ecclesiastical Mission, in spreading Russian Orthodox editions in the Holy Land (the late XIX - early XX century)." Bibliosphere, no. 4 (December 30, 2017): 21–25. http://dx.doi.org/10.20913/1815-3186-2017-4-21-25.

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The number of pilgrims willing to visit the Holy Land has increased by the late XIX century. There was a need to provide them with Russian-language Orthodox publications during the pilgrimage. The study considers the activities of the Imperial Orthodox Palestinian Society members being solved this task, Mikhail Ivanovich Osipov and Nikolai Grigorievich Mikhailov. The author got known about their joint cooperation with the head of the Russian Ecclesiastical Mission in Jerusalem, Archimandrite Antonin (Kapustin), based on materials stored in the Russian Ecclesiastical Mission Archives in the Hol

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Zlotnikova, Irina V. "THE CHURCH AS A SPACE OF IMAGES IN PICTURESQUE PROSKINETARIUMS. A VISUAL PROGRAM FOR THE PILGRIM." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 2 (2023): 102–18. http://dx.doi.org/10.28995/2686-7249-2023-2-102-118.

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The author researches the theme of the facial pictorial proskinitariums – jerusalemija. They were the manifestations of hierotopia, reflecting the sacred topography of the Holy Land within the iconic space. At the same time the jerusalemija visualized the pilgrim’s journey in the Holy Land in the 18th – early 20th centuries through images available to the pilgrim. The name of the place was visualized by creating an associative pictorial symbol, while the visual image was often supported by text referring to the lines of the New or Old Testament. The iconography of ‘jerusalemija’ dates back to

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Самойлова, Т. Е. "Град земной и град Небесный. Новые образы в иконописи эпохи Василия III". Палеоросия. Древняя Русь: во времени, в личностях, в идеях, № 3(27) (20 грудня 2024): 129–39. https://doi.org/10.47132/2618-9674_2024_3_129.

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В статье подвергаются иконографическому анализу две иконы, происходящие из Успенского собора Московского Кремля: «Апокалипсис» начала XVI в. и «Благословенно воинство Небесного Царя» первой трети XVI в. Обе иконы отражают эсхатологические представления эпохи Василия III. Целый ряд иконографических мотивов, впервые появившихся в иконе «Апокалипсис», были развиты в несколько более позднем произведении, иконе «Благословенно воинство Небесного Царя», превратившись в законченную картину эсхатологического шествия святых во главе с царем Константином к Небесному Иерусалиму. Программа этой иконы по ср

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Mikhaylova, Svetlana I. "Beautifiers of Russian Palestine: Vasily Paskhin." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 66 (2022): 333–52. http://dx.doi.org/10.37816/2073-9567-2022-66-333-352.

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Russian religious art of the 19th century in the Soviet years did not correspond to the official ideological direction, in connection with which many of these works were destroyed, and the names of their authors were forgotten. In this sense, those works of Russian artists that have been preserved in the churches and metochions of the Holy Land allow us to restore these names and fill the lacunae of domestic art. The paper represents an attempt to establish the facts of the creative biography of one of these artists — Vasily Filippovich Paskhin, whose icon-painting works were preserved at the

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Tikhomirov, Boris. "“The Dark Face of the Virgin at the Znamenskaya Church” (The Icon Before Which Dostoevsky Prayed)." Неизвестный Достоевский 9, no. 1 (2022): 5–19. http://dx.doi.org/10.15393/j10.art.2022.5941.

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Based on a cross-analysis of the memoir testimony of V. V. Timofeeva (O. Pochinkovskaya) and the materials of Dostoevsky’s creative laboratory, the article establishes the fact of the writer’s prayerful veneration of The Sign, the miraculous icon of the Mother of God, located at the St. Petersburg Znamenskaya (Entrance to Jerusalem) Church on Nevsky Prospect, as well as Dostoevsky’s intention (not realized in one of the episodes of the novel “A Raw Youth”) to portray the main character, Arkady Dolgoruky, at prayer before this miraculous image. When commenting on the draft entry of “The Dark Fa

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Chistiakov, Petr G. "THE PROCESSIONS OF THE CROSS WITH THE JERUSALEM THEOTOCOS ICON FROM BRONNITSY, BOGORODSK COUNTY OF MOSCOW REGION." Studia Religiosa Rossica: Russian Journal of Religion, no. 1 (2019): 101–16. http://dx.doi.org/10.28995/2658-4158-2019-1-101-116.

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Ungureanu, Cristian. "Symmetrical Geometry of Flowers in Art and Nature “The Triumphal Entry of Jesus into Jerusalem”." Human and Social Studies 5, no. 2 (2016): 90–99. http://dx.doi.org/10.1515/hssr-2016-0015.

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Abstract The aim of our study is to highlight the obvious similarities that exist between the organizational structures of the biological world, particularly in terms of the number and distribution of the petals on flower and the geometric configurations used by the great masters of European painting, both in the East but also in the West, in order to elaborate the compositional framework of paintings and icons. Taking into consideration the symbolic connotations concerning the field of biology (the primary focus this article), we chose as a case study the Russian icon from the 14th century en

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Farinacci, Elisa. "The Israeli-Palestinian Separation Wall and the Assemblage Theory: The Case of the Weekly Rosary at the Icon of Our Lady of the Wall." Journal of Ethnology and Folkloristics 11, no. 1 (2017): 83–110. http://dx.doi.org/10.1515/jef-2017-0006.

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Abstract In this work I analyse the ethnographic case study of the icon of Our Lady of the Wall as establishing a unique ritual landscape among the cement slabs of the Israeli-Palestinian Wall separating Jerusalem from Bethlehem. Although the Wall has been widely described as a technology of occupation on one side and as a device to ensure security on the other, through Latour’s concept of assemblages I unearth its agency in developing a Christian shrine. Through a decade of weekly recitations of the Rosary along the Wall near Checkpoint 300, the Elizabethan nuns of the Caritas Baby Hospital h

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GOLDHILL, SIMON. "WHAT HAS ALEXANDRIA TO DO WITH JERUSALEM? WRITING THE HISTORY OF THE JEWS IN THE NINETEENTH CENTURY." Historical Journal 59, no. 1 (2015): 125–51. http://dx.doi.org/10.1017/s0018246x15000047.

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ABSTRACTHistories of the Jews are a fundamental and polemical aspect of Christian and especially Protestant historiography in the nineteenth century. This article considers, in their context, the five most popular and influential multi-volume histories published in Britain, namely those of Henry Hart Milman, Heinrich Ewald, Arthur Penrhyn Stanley, Ernest Renan (the one significant – lapsed – Catholic historian in the tradition), and Emil Schürer. It shows how each of these major historians constructs an opposition between Alexandrian Judaism and Palestinian Judaism, a hierarchical opposition w

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Krasnova, Anna L. "EARLY ATHOS AND SINAI ENGRAVINGS AND THEIR ICONOGRAPHIC SOURCES: ICONS, PROSKYNETARIONS, GEOGRAPHICAL MAPS." Scientific and analytical journal Burganov House. The space of culture 17, no. 3 (2021): 24–32. http://dx.doi.org/10.36340/2071-6818-2021-17-3-24-32.

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A comprehensive study and understanding of Greek religious engravings require identifying iconographic sources and understanding the masters’ choice of certain works. Which in turn reveals the purpose and history of the existence of Greek engravings. Icons were often the subjects of religious engravings. Therefore, such engravings have a second name, “icons on paper”; along with them, views of monasteries and holy places were depicted. There is a separate genre in books, icons, religious paintings1 , cartography, and that is images with views of the Holy Places: Jerusalem, Sinai and others. In

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Kaskiv, Oleg. "Pilgrimages as one of the elements of the restoration of a vacation spot in the village of Krylos 1989-2018." Good Parson: scientific bulletin of Ivano-Frankivsk Academy of John Chrysostom. Theology. Philosophy. History, no. 18 (December 2023): 9–19. http://dx.doi.org/10.52761/2522-1558.2023.18.2.

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This article is aimed at the research of the re-establishment of a sacred place in the Krylos village, Ivano-Frankivsk region in 1989-2018. There are still living witnesses of how people traveled from all over Galychyna to Krylos Mountaine in carts, on foot, and on horses. Hundreds of carts were beset the territory of the current village stadium and access roads. People wanted to pray to the miraculous icon of the Blessed Virgin Mary, and to drink miraculous water from the so-called "Franciskan springs". There are many confirmed facts about their miraculous qualities. The development of the sa

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Plamen, Sabev. "THE CYCLE "PASSIONS OF CHRIST" IN TWO REVIVAL ICONS FROM THE VELIKO TARNOVO HISTORICAL MUSEUM." "Logos and Image", "St. St. Cyril and Methodius" University, 2010 2 (December 15, 2010): 72–86. https://doi.org/10.5281/zenodo.4917375.

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The books in the New Testament, testifying of Christ's passions and His tortures on the Cross are fundamental for the Christian doctrine. During the years, considering the importance of this moment in the liturgy, this cycle is very carefully defined in the church visual arts, which is relevant to the variety of traditions 14 the Passion Week in the different church communities. In XIV century, the Passion Week resembles a completed church drama and the developed themes are a sequence of the achievements of the Byzantine theological thought. In XVI—XVII centuries, the West church, pr

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Hetherington, Paul. "Who Is This King of Glory? The Byzantine Enamels of an Icon Frame and Revetment in Jerusalem: For Hugo Buchthal at 80." Zeitschrift für Kunstgeschichte 53, no. 1 (1990): 25. http://dx.doi.org/10.2307/1482503.

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KOPANJA, Jovana M. "“Megalos mastoras and his work” Pekich's story of infection and a masterpiece." Problems of slavonic studies 70 (2021): 205–14. http://dx.doi.org/10.30970/sls.2021.70.3748.

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Аbstract: “Megalos Mastoras and His Work”, the story that opens Pekić’s New Jerusalem, will be analyzed from the aspect of the divine (demiurgic) nature of the work of art, as well as through the representation of an Artist as God. Five artists appear in the story: Cyrus-Angelos, the icon painter Nicodemus, Janibeg (artist of war), the biographer of the story and the Greek anonymous at the beginning of the story and all of them are simultaneously sublime and tragic. A special accent was certainly placed on the figure of Megalos Mastoras, through whose work the difference between the artist and

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Лидова, Мария Алексеевна. "Образы Богоматери Царицы в римской живописи VIII века". Actual Problems of Theory and History of Art 14 (11 жовтня 2024): 113–22. https://doi.org/10.18688/aa2414-2-8.

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The paper is dedicated to the study of the Maria Regina iconography in Rome. The representations of Mary as Queen are well-attested in the West, yet they are extremely rare in the art of the Eastern Mediterranean. Notwithstanding this fact, the possibility that this iconography originated in the central territories of the Byzantine Empire and perhaps in Constantinople itself cannot be ruled out entirely. In fact, the similarities in the dipiction of garments in the earliest representations of Maria Regina, such as the mural in Santa Maria Antiqua, the icon of Santa Maria in Trastevere and the

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Sawicki, Doroteusz. "Krótka historia Prawosławnego Autonomicznego Kościoła Świętej Góry Synaj." Elpis 12 (2010): 365–86. http://dx.doi.org/10.15290/elpis.2010.12.18.

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The Holy mountain Sinai was known and venerated in the Old Testament. On this mountain, moses saw God in the form of a burning bush and heard His name – Jahwe (I am, who I am). When returning from bondage in Egypt, moses received the ten commandments on stone tablets and instructed Israel. also, the Prophet Elijah hid himself from the wrath of Queen Isabel on mount Sinai.In the times of the New Testament, the caves of Sinai became a dwelling place for Christian recluses in the III century. after the relics of St. Catherine the martyr were found on the top of mount Sinai, anchoritic monasticism

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Erdeljan, Jelena. "Belgrade as new Jerusalem: Reflections on the reception of a topos in the age of despot Stefan Lazarevic." Zbornik radova Vizantoloskog instituta, no. 43 (2006): 96–110. http://dx.doi.org/10.2298/zrvi0643096e.

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In the Vita of despot Stefan Lazarevic, Belgrade is compared to Jerusalem The use of this topos is aimed at a social construction of meaning within the framework of historically determined cultural discourse, based on the premise that culture itself can be observed as a complex system of signs constantly open to redefinition. This implies that the approach to its more profound understanding must rely on a method based on reconceptualization of the problem of text and context. Therefore, the true object of investigation becomes the relation between text and society whose activities are themselv

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Truevtseva, Olga N., and Galina D. Bulgaeva. "Piligrimage relics of the Holy Land of the late XIX – early XX centuries as objects of artistic heritage: (based on the materials of collections of orthodox churches and private collections of residents of Siberia)." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 57 (2025): 272–86. https://doi.org/10.17223/22220836/57/22.

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The study of such a phenomenon in Russian culture as pilgrimage to Palestine at the turn of the XIX-XX centuries has not lost its relevance over the past decades. The traditions of “going to the Holy Land” have deep roots. Descriptions of some trips have entered the world book heritage. Modern researchers pay special attention to the monuments of material culture that are directly related to this phenomenon: icon images made in various techniques, oral and written testimonies, printed images. Scientists consider the role of the Imperial Orthodox Palestinian Society in the dissemination of lith

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Onurel, Ruhiye, and Eva Aleksandru Şarlak. "Stylistic Analysis of the Holy Icons from Saint George Church in Yenikoy, Istanbul." Athens Journal of History 10, no. 2 (2024): 97–112. http://dx.doi.org/10.30958/ajhis.10-2-2.

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The main subject of the research is to analyse the multi-themed sacred proskynetarion icons in Yeniköy Ayios Yeoryios (St. George) Metochion Church, one of the three metochion churches of the Jerusalem Orthodox Patriarchate in Istanbul. Although it is known that the icons found in the metochion churches in Istanbul have not been studied before, the icons belonging to the church in Yeniköy from these structures were included in the research. Due to the limitations of the article, which prevented the evaluation of all the icons in the church, the research focused solely on the technical and styl

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Роксолана, Косів. "Дарохранильниці риботицьких майстрів (1690–1750-х рр.): іконографія та художнє вирішення". ВІСНИК Львівської національної академії мистецтв, № 35 (16 липня 2018): 72–87. https://doi.org/10.5281/zenodo.1313088.

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The study of the Ukrainian churches interior and its elements in the end of the 17th – first half of the 18th centuries requires an integrated approach. Not many churches preserved arrangement of that time in its original form. In order to reconstruct the appearance of church interiors, it is necessary to involve archival materials, photographic documentation, and study works in museums and private collections. The study of iconography and artistic peculiarities of church arrangement is closely linked with their sacred function in the liturgy. The aesthetic attitude and ceremonial innova

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Tchekhanovets, Yana. "Miniature diptych from Jerusalem." Byzantinische Zeitschrift 107, no. 2 (2014). http://dx.doi.org/10.1515/bz-2014-0025.

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AbstractThe article presents a miniature Byzantine diptych icon incorporated in a bone box, which was recently discovered in archaeological excavations in Jerusalem. The find was unearthed on the pedestrian sidewalk of the Byzantine street, in a sealed and well stratified context dated to the beginning of the 7

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Scollins, Kathleen. "A Haymarket Khozhdenie na osliati: Raskolnikov’s Donkey Walk and the Failures of Iconic Performativity." Journal of Icon Studies, December 31, 2020. http://dx.doi.org/10.36391/jis3003.

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In sixteenth- and seventeenth-century Moscow, Orthodox priests and celebrants reenacted Christ’s entry into Jerusalem on Palm Sunday in a ritual known as the Donkey Walk (Khozhdenie na osliati). Art historian Alexei Lidov has interpreted this reenactment as a “spatial icon,” in which city and inhabitants co-create a dynamic, living “Entry into Jerusalem” icon. This paper reexamines the final chapters of Dostoevsky’s Crime and Punishment within the context of this ritual, arguing that Raskolnikov’s attempted act of penitence at the Haymarket represents a failed Donkey Walk, in which the city an

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Rasheva, Iveta. "Varia: Renaissance. National. Non-canonical. (The 19th century Bulgarian Ierosolymitika with the images of St. Cyril and St. Methodius)." Proglas 29, no. 1 (2020). http://dx.doi.org/10.54664/aoox2305.

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The Ierosolymitika are paintings with Biblical content, produced between the 17th and the 19th centuries in Jerusalem. The wealthy Bulgarian pilgrims usually bought several Ierosalymitika each. Jesus Christ’s tomb was painted in the center of each Ierosolymitikon. Invariably, there was an icon of the Theotokos to the left of the central image and another one of Jesus Christ to the right. The rest of the space was filled with scenes from the Old and the New Testaments and with icons of Saints. The author of this article discusses an icon of St. Cyril and St. Methodius she was able to find in on

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Udrea, I., C. Marutoiu, O. F. Nemes, I. Bratu, D. Nemes, and D. Toader. "Spectroscopic Analysis of the Romanian Icon “The Entry of the Lord into Jerusalem” by Grigore Ranite." Analytical Letters, April 26, 2022, 1–19. http://dx.doi.org/10.1080/00032719.2022.2067169.

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Udrea, I., C. Marutoiu, O. F. Nemes, I. Bratu, D. Nemes, and D. Toader. "Spectroscopic Analysis of the Romanian Icon “The Entry of the Lord into Jerusalem” by Grigore Ranite." Analytical Letters, April 26, 2022, 1–19. http://dx.doi.org/10.1080/00032719.2022.2067169.

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Marina, Toumpouri. "Defense of Icon Veneration by John of Damascus." Database of Religious History, June 27, 2024. https://doi.org/10.5281/zenodo.12573578.

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The three treatises on the holy icons by St. John of Damascus were written during the first phase of the iconoclastic conflict, between the years 726 and 730-731 CE, on the occasion of the uproar caused in Byzantium after the issue of a decree by the emperor Leo III the Isaurian, which forbade the faithful to kneel in front of the holy icons and ordered that the icons should be hanged higher, so that it would not be possible to worship them. Despite the careful wording of the first decrees issued by emperor Leo, the rage of the iconoclasts against the holy icons did not take long to show its t

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Беляев, Л. А. "NEW FINDS OR A LOST COLECTION? UNIQUE ITEMS FROM THE NEW JERUSALEM MONASTERY (PRELIMINARY PUBLICATION)." Краткие сообщения Института археологии (КСИА), no. 254 (September 28, 2019). http://dx.doi.org/10.25681/iaras.0130-2620.254.308-318.

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В статье публикуются три необычные находки, сделанные в Воскресенском монастыре Новый Иерусалим (г. Истра Московской области) экспедицией Института археологии РАН в 2009 2017 гг. Это дно каменной урны с латинской надписью первой половины I тыс. н. э., фрагмент стеатитовой иконки XI XII вв. и золотой флорин венгерского короля Матвея (Матиаша) Корвина второй половины XV в. Ставится вопрос о причинах их присутствия в культурном слое монастыря, основанного в середине XVII в. Это не находит логического объяснения. Делается предположение об их принадлежности большому музейному комплексу, существовав

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Ali, Hagar Shappan, Leqaa Essam, Mahmoud Tarek, Emil Henin, Abdelrahman Elserogy, and Souty Beskhyroun. "GREEN SOLVENTS’ VAPORS VERSUS SWABS; A GREEN METHODOLOGY OF CLEANING AGED SHELLAC FROM JERUSALEM ICON Of JESUS CHRIST’S BIRTH EVENTS." Shedet, June 20, 2025, 0. https://doi.org/10.21608/shedet.2025.349104.1281.

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Gouiffès, Michele, and Véronique Caye. "The Vera Icona Installation and Performance: A Reflection on Face Surveillance in Contemporary Society." Leonardo, July 21, 2022, 439–44. http://dx.doi.org/10.1162/leon_a_02245.

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Abstract The Vera Icona installation-performance considers the relationship between face and image in contemporary society. It is inspired by the legend of the Vera Icona, an “icon made without hands” (said to have come into existence miraculously rather than by human creation), which is part of the political and philosophical history of images, from the religious icon to contemporary video. The installation-performance proposes a critical analysis of Jerusalem’s surveillance society. Using artificial intelligence techniques such as deep learning in order to replicate the mise en abyme art tec

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Marina, Toumpouri. "Monastery of Mega Spilaion." Database of Religious History, June 27, 2024. https://doi.org/10.5281/zenodo.12574766.

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The Monastery of Mega Spilaion (meaning "great cave" in Greek) was formally known as the Monastery of the Dormition of the Theotokos (in Greek Ιερά Μονή Κοιμήσεως της Θεοτόκου). It is hewn to the west side of mount Chelmos at an altitude of 900 m over the steep Vouraikos gorge, some 11 km from the town of Kalavryta, in Peloponnese, southern Greece. The cave was known in antiquity, since the geographer Pausanias was reporting that the daughters of Proetus found refuge there during their madness. During the first Christian centuries, hermits have occupied the cave. Mega Spilaion is one of the ol

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"The Icon of the Mother of God of Jerusalem from the Assumption Cathedral of the Moscow Kremlin and its lost original. On the question of copying ancient icons in the Muscovite workshop in the late 17th — early 18th centuries." Vestnik of Saint Petersburg University. Arts 8, no. 3 (2018). http://dx.doi.org/10.21638/11701/spbu15.2018.307.

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A.L., McMichael. "Byzantine Iconoclasts (726-787 CE)." Database of Religious History, June 27, 2024. https://doi.org/10.5281/zenodo.12573608.

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Byzantine iconoclasts (image breakers) were not always a homogenized group, but we now use the term to represent the interlocutors who codified the social, political, and religious conflict with iconophiles (lovers of images) into law. The first period of Iconoclasm (image breaking) in Byzantium is usually attributed to the 720s CE. Textual sources report that a prominent icon (portrait) of Christ was removed from public view in Constantinople in 726. This led to subsequent debates over whether and how it was appropriate to depict holy figures in art. The controversy oscillated until a church

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Marina, Toumpouri. "Nea Moni, Chios." Database of Religious History, June 27, 2024. https://doi.org/10.5281/zenodo.12574182.

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Nea Moni (meaning "new monastery" in Greek) on the Greek island of Chios, dedicated to the Mother of God, was founded according to tradition by three local hermits Niketas, John, and Joseph. The three monks had built a small church on the spot where they had found a miraculous icon of the Virgin Mary hanging on a tree, during the period of the reign of emperor Michael IV (1034-1041). During this period Constantine Monomachos was exiled on the island of Lesbos. The three monks who had a divine revelation travelled from Chios to Lesbos in order to announce him that he would soon become emperor.

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