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славо и похвало Руске Цркве, пред светом који гине Христа си исповедао, крвљу твојом Црква се утврди, разум Божански стекао си, људима верним говорећи, Без Цркве нема спасења! тропар, глас 4-ти Иларионе, Свештеномучениче Христов, служитеља долазећег антихриста ниси се уплашио, Христа си храбро исповедао, за Цркву Божију живот свој положио, Лепото Новомученика руских, Похвало Свете Русије, ти си слава и утврђење наше Цркве! кондак, глас 6-ти ПОСТЕПЕНО ГУБЉЕЊЕ ВЕРЕ У ЦРКВУ Садржај "Верујем у Једну, Свету, Саборну и Апостолску Цркву"
This book is an attempt to shed light on the new way of the complex problems about geography of religions and sacred geography. Special attention in the monograph is devoted to the empirical analysis of specific religions, in their development and mutual coupling with the environment. The author perceives their creators activities, religious centers, borders and barriers for expansion in the area. It is interesting that all world religions originated in the Eurasian mainland edge zone. It corresponds to contrasts of land and sea, mountains and lowlands, dry and humid climate, forests and deserts, agriculture and animal husbandry. This zone has experienced a significant evolution in human history, such as the creation of a reasonable human being, the origin of agriculture, the rise of agrarian civilization and the establishment of monotheism; it was created in some areas of northwest India, across the Middle East to the east coast of the Mediterranean Sea. This fact proves that is impossible to exclude the geographical factor in explaining the genesis and evolution of the world's religions, as is often the case in various historical, anthropological, sociological and related research.
Bogoslovlje , 2024
This article analyses the life and deeds of Saint Visarion Saraj and the historical results of his deeds. This saint was of Serbian descent, but remained relatively unknown in the Serbian-speaking world until today. Therefore, this article aims to bring Saint Visarion Saraj closer to the Serbian reading public. Visarion played the most important role in preventing the spread of the Church Union and Catholicism in Transylvania at the end of the 17th and beginning of the 18th century. In addition to the life and deeds of the saint, this article analyses the social and religious situation in Transylvania at that time, as well as the process of deciding the Church Union between the local Orthodox Church and the Roman Church. This process was presented to the readers at the beginning of the article, and then the actions and working methods of Saint Visarion Saraj against the Union were analysed and discussed. At the end of the article, the canonization of Visarion Saraj and the reception of his deeds and personality in the modern world were also briefly presented.
Саборност X, 2016, стр. 159-174.
У раду се доказује да је хришћански храм и персонификација Раја и да је, сходно томе, био опремљен позлаћеним вратима - Златним вратима. Открива се, на основу сачуваног ктиторског модела, да је и црква Св. Тројице деспота Стефана у Ресави имала Златна врата. Такође, златна врата су имале и многе друге велике српске задужбине.
Suvremene migracije u trećem desetljeću XXI stoljeća odgovor Katoličke crkve kroz encikliku pape Franja Frateli tutti
М. Ракоција, ЦРКВА СВ. ЈОВАНА ИЗНАД ГОРЊЕГ МАТЕЈЕВЦА И ЊЕНА АРХАИЧНА ТРИКОНХАЛНА ОСНОВА/CHURCH OF ST. JOHN NEAR GORNJI MATEJEVAC AND ITS ARCHAIC TRICONCHAL PLAN/, Ниш и Византија XVIII, 121-158
Baština 33/2012, 2012
The Church of St Elijah in Vučitrn was built from 1823. to 1834., when it was consecrated. It was built by the people of the parish, on the spot where they had buried liturgical objects few years ago, which then served as an evidence of the existence of an earlier church for gaining the permission from the authorities. It is a single-nave church, built of a cut stone, with its interior divided into the sanctuary, the nave and the narthex. With its architectural features as the gallery above the narthex designated for women, gable roof and the method of construction that was achieved for the church to be dug in in the ground to a certain height, this temple is a typical example of church architecture in the framework of the Ecumenical Patriarchate in the Ottoman Empire. For understanding this art, the achievement of Debar’s zographs (painters) in its decorating is just as important. Zograph Dičo from the village of Tresonče painted iconostasis in 1846, while his disciple Blaža Damjanović, painted the church in 1871. Since the church was twice burned and vandalized, in 1999 and 2004, when the wall paintings were destoryed, iconostasis was transferred to the church of the Banjska monastery. The main characteristic of the iconographic scheme and the visual poetics of their icons is the emphasis on tradition and the respect for the dogmatic character of icons. Also, they follow the zographic model of icon painting which developed in Italo-Cretan workshops in the XVI century, combining with baroque and rococo decorative solutions. The context of construction and forms of the interior design of the church has given a significant example of the nineteenth century art in this part of the Ottoman Empire. It is a paradigm of specific mode of construction that was adorned with a dominant model of religious painting of the time.
The paper presents never before published data on construction of the Orthodox church of St George in Prnjavor and its iconostasis from 1888. It is established that the church was not built in accordance with the project preserved in the Bosnia and Herzegovina Archive, and that this project was probably intended for the church of the Orthodox Ukrainians in Prnjavor. The paper specifically discusses the iconostasis painter, Teodosije Markovic, who signed the icon of St Nicholas, but was not known as icon painter beforehand. It establishes that Teodosije Markovic was a priest in the Pakrac Diocese in the second part of the 19th century, first in Brod on Sava and later in Daruvar. No other icons of him have been known so far. Iconography and style-wise, his work is close to the work of Arsenije Teodorovic in Pakrac. Teodosije Markovic might have come in touch with the Prnjavor Orthodox Church Community through some of the Prnjavor merchants who developed strong business relationship with Brod and many of them spent some refugee years there in the eve of and during the uprising from 1874 – 1878. Research on the icon painting of Teodosije Markovic presented here should incite to searching for his possible other works that might be preserved as well.
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