# data[].attributes.body
Pieta is one of the most famous works of Christian art from the Renaissance period. The sculpture was created by Michelangelo between 1498 and 1499 and is located in St. Peter’s Basilica.

The word “Pietà” means “pity” or “compassion.” The sculpture depicts the Virgin Mary holding the body of Jesus after the crucifixion. It reflects themes of sorrow, sacrifice, mercy, and spiritual peace.

One of the reasons this artwork is considered unique is its emotional realism and extraordinary detail. Although the sculpture is made entirely of marble, the folds of the clothing, the softness of the skin, and the expressions on the faces appear almost lifelike. Michelangelo combined physical beauty with spiritual meaning, which became one of the defining characteristics of Renaissance Christian art.

Another remarkable aspect of the Pietà is the contrast between suffering and serenity. Even though the scene represents death and grief, Mary’s face appears calm and accepting rather than dramatic. This creates a sense of sacred silence and spiritual depth.

Light also plays an important role in how the sculpture is experienced. As the light changes across the marble surface, different shadows and details become visible, making the work appear almost alive from different angles. Because of this, viewers often experience the sculpture differently depending on where they stand and how the light falls upon it.

Today, the Pietà continues to be admired not only as a religious symbol but also as one of the greatest achievements in the history of sculpture and Christian art.

# data[].attributes.body
One of the most important reasons this art form has gained such value and differs from other forms of painting is its constant transformation. To explain this change further: stained glass creates the impression of continual variation even though its colors and drawings remain the same, because of the angles of sunlight, the movement of clouds, and even the movement of any object behind the stained glass.

In addition, the uniqueness of glass art depends on the thickness of the glass, temperature changes in its environment, its chemical structure, modifications made to the glass surface, differences in texture, and its color. By intervening in the glass itself and choosing thick or thin glass according to the space and purpose, it is possible to reduce, redirect, or intensify the speed and direction of the incoming light.

Today, light is produced not only naturally but also artificially through advancing technologies. Thanks to these developments, stained glass can now be used even in places where there is no natural light at all.

# data[].attributes.body
Anyone attending an Orthodox service for the first time will be struck by the direct and obvious appeal to the senses. The central acts of the service are, of course, the consecration and distribution of the bread and wine that become the Body and Blood of the Lord. Yet the hymns and choral singing, the incense, the vestments and ritual movements of the priests and assistants, and the images everywhere are not merely decorations. They are integral parts of the entire liturgical “event.” They reveal and celebrate its meaning.

It has been this way for centuries. An old Russian chronicle tells how Prince Vladimir of Kiev (d. 1015) could not decide which faith to adopt for himself and his people until his envoys returned from Constantinople and reported the worship they had witnessed there: “We did not know whether we were in heaven or on earth,” they declared, “for on earth there is no such splendor or beauty, and we are at a loss to describe it. We only know that God dwells there among men.” This often-repeated story may be anecdotal, but it contains a valid observation: the Orthodox Church does not make a sharp distinction between the spiritual and the aesthetic in its worship. Awareness of God’s presence is reached through the senses, through the experience of “splendor” and “beauty.”

This emphasis on sensory participation is based on the Orthodox — and thoroughly biblical — belief that when Christ establishes His Kingdom at the end of time, not only the human soul but the entire world will be transformed — will be “saved.” The liturgy is a foretaste and conditional fulfillment of that promised end here and now. Far from denying God’s material creation, it sanctifies it. The Eucharist itself is proof of this. Yet the beauty of the liturgy is of a kind consistent with the Church’s vision of this transformed world.

This qualification is important. Many things called “beautiful” actually embody values that bear the marks of the world in its unredeemed state and therefore have no place in the Church. For example, a painting depicting a saint as physically seductive or excessively sentimental, no matter how artistically executed, would fall into this category. On the other hand, the beauty that foretells the Kingdom of God may appear strange or unsettling to those who do not share in the deeper experience of the Church and therefore do not share its vision. We often hear people complain about the solemn faces in icons. While the Church’s worship appeals to the senses, it assumes a canon of beauty in harmony with the new life to which believers are called. The greatest achievement of Orthodoxy’s sacred arts lies in their brilliant and creative response to the demands of this canon.

The art and architecture of the Orthodox Church reached maturity in the Christian Roman, or Byzantine, Empire and spread to the lands that received Christianity from Byzantium. It also strongly influenced the art of Western Christians up until the thirteenth century. In the Orthodox world, the fall of Constantinople in 1453 accelerated the development of national styles within the Byzantine tradition (Greek, Serbian, Russian, Bulgarian, Romanian, Arab), but it also led to the gradual adoption of Renaissance and Baroque ideas from the West, to the point that by the nineteenth century the Byzantine essence of Orthodox art had become almost indistinguishable under Western influence. Nevertheless, in recent decades Orthodox artists have begun rediscovering their Byzantine heritage, just as Orthodox theologians have returned to the patristic sources of Orthodoxy.

# data[].attributes.body
Images of Jesus and narrative scenes from the life of Jesus are the most common subjects, and scenes from the Old Testament play a role in the art of most denominations. Images of the Virgin Mary and saints are common in some branches of Christianity, including Catholicism, Oriental Orthodoxy, Eastern Orthodoxy, and Evangelical Lutheranism.

Christianity makes much wider use of images compared to related religions such as Islam and Judaism, where figurative representations are forbidden. However, there have also been periods of iconoclasm within Christianity, and there have been those who advocated iconoclasm.

# data[].attributes.body
The Last Supper, by Leonardo da Vinci, a Christian artwork from the Renaissance, created at the end of the 15th century in Milan, Italy. The painting represents the moment when Jesus tells his disciples that one of them will betray him, just before his crucifixion. It is a key scene in Christianity and is based on the Gospels.

The artwork stands out for the expression of the apostles’ emotions and for the use of perspective, which directs the viewer’s gaze toward Jesus as the central figure. More than just a religious image, it shows Christian values such as faith, betrayal, and sacrifice, and reflects the Renaissance interest in human beings and their feelings.

# data[].attributes.body
The Last Supper was the final meal that Jesus shared with his disciples before his passion and death. It took place in Jerusalem during the celebration of the Jewish Passover, and according to the Gospels, Jesus gathered the twelve apostles to say farewell and to leave them a fundamental message. During the meal, he announced that one of those present would betray him, which caused confusion among the disciples, and he also foretold that Peter would deny him. In that context, Jesus took bread and wine and offered them as symbols of his body and blood, establishing the Eucharist, one of the central sacraments of Christianity. Beyond its ritual meaning, the Last Supper stands out for the message of love, self-giving, and service that Jesus conveyed, emphasizing the importance of humility and love for one’s neighbor. This episode has had a profound influence on Christian faith and Western culture, and it has been represented countless times in art, most famously in Leonardo da Vinci’s painting.

# data[].attributes.body
The Creation of Adam – Michelangelo

The Creation of Adam is one of the most famous Christian paintings in Europe. It was painted by Michelangelo on the ceiling of the Sistine Chapel in Vatican City.

The painting shows the moment when God gives life to Adam, according to the Bible. The nearly touching hands symbolize the connection between God and humanity.

This artwork is an important example of Renaissance Christian art and shows how religion inspired European artists.

# data[].attributes.headline
The Creation Tapestry is a medieval artwork illustrating the biblical story of creation. Through detailed figures and symbols, it shows God forming the world, animals, and humanity. The tapestry reflects religious beliefs, medieval craftsmanship, and storytelling through textiles, preserving history, faith, and artistic tradition. It remains culturally significant today worldwide.

# data[].attributes.subject
The Creation Tapestry is a medieval artwork illustrating the biblical story of creation. Through detailed figures and symbols, it shows God forming the world, animals, and humanity. The tapestry reflects religious beliefs, medieval craftsmanship, and storytelling through textiles, preserving history, faith, and artistic tradition. It remains culturally significant today worldwide.

# data[].attributes.headline
The Creation of Adam is a famous fresco painted by Michelangelo on the Sistine Chapel ceiling. It shows God giving life to Adam through a powerful gesture. The artwork represents human creation, divine connection, and the beauty of Renaissance art. It remains influential and admired worldwide today by many people

# data[].attributes.subject
The Creation of Adam is a famous fresco painted by Michelangelo on the Sistine Chapel ceiling. It shows God giving life to Adam through a powerful gesture. The artwork represents human creation, divine connection, and the beauty of Renaissance art. It remains influential and admired worldwide today by many people

# data[].attributes.body
The Last Supper" is one of the world's most famous paintings, created by Leonardo da Vinci between 1494 and 1498 in Milan, Italy. It depicts the moment when Jesus announces that one of his twelve apostles will betray him. The work is located in the refectory of the Convent of Santa Maria delle Grazie and is notable for its innovative composition, the portrayal of the apostles' emotions, and the unique painting technique used by Leonardo: a mixture of tempera and oil on dry plaster, which unfortunately led to its rapid deterioration.

# data[].attributes.body
EL TECHO DE LA CAPILLA SIXTINA

The ceiling of the Sistine Chapel is a Renaissance masterpiece painted by Michelangelo between 1508 and 1512, commissioned by Pope Julius II. It depicts scenes from Genesis, prophets, sibyls, and ancestors of Christ, most notably the iconic "Creation of Adam." Using the fresco technique and vivid colors to be seen from afar, it narrates the biblical story in more than 300 figures over a surface of 460 m².

# data[].attributes.body
Byzantine art developed in the Byzantine Empire. It is known for its shiny mosaics, gold-colored icons, and big churches with domes. The figures look front-facing and not very realistic because the goal is to show the holy and spiritual. This art style feels bright, serious, and very religious.

# data[].attributes.body
The Creation of Adam is one of the most famous frescoes painted by Michelangelo on the ceiling of the Sistine Chapel in Vatican City. It was created around 1511, during the High Renaissance. The entire ceiling took about four years to complete, from 1508 to 1512, and The Creation of Adam became one of its most iconic scenes.

The fresco illustrates the biblical moment from the Book of Genesis in which God gives life to the first human, Adam. Michelangelo’s composition, especially the nearly touching hands of God and Adam, became a symbol of humanity’s connection to the divine.

Historically, the work represents a turning point in Western art. Michelangelo introduced a new level of anatomical precision and emotional expression, transforming the way religious stories were visually interpreted. Over the centuries, The Creation of Adam has remained an influential masterpiece, recognized for both its artistic innovation and its profound symbolic meaning.

# data[].attributes.body
The Last Supper is one of the most famous works of Christian art. It was painted by Leonardo da Vinci between 1495 and 1498 on a wall in the dining hall of the Santa Maria delle Grazie convent in Milan, Italy. The painting shows the moment when Jesus tells his twelve disciples that one of them will betray him, which is an important event in the New Testament.

The artwork is large and very detailed. Leonardo focused on the reactions of each disciple. Some look shocked, others confused, and a few seem upset or worried. This makes the scene feel dramatic and emotional, as if the viewer is witnessing the moment in real life. Jesus is placed at the center of the painting, which highlights his importance and creates a sense of balance.

Leonardo used techniques such as linear perspective to make the room look three-dimensional. The lines of the walls and ceiling guide the viewer’s eyes directly toward Jesus. The light in the painting also helps create a calm but intense atmosphere, emphasizing the spiritual meaning of the scene.

Even though the painting has been damaged and restored many times over the centuries, it is still considered a masterpiece of Christian art. It is admired not only for its religious significance but also for its artistic innovation. The Last Supper continues to inspire people today and remains one of the most studied images in Western art.

# data[].attributes.body
Christian art has depicted The Last Supper as the solemn moment when Jesus shares his final meal with his disciples. These works often emphasize the institution of the Eucharist and the apostles’ emotions upon hearing of the betrayal. This scene has become a central symbol of communion, sacrifice, and faith in the Christian artistic tradition.

# data[].attributes.body
The Mona Lisa is a super famous painting by Leonardo da Vinci. It shows a woman with a mysterious little smile that everyone talks about. What’s cool is that her eyes look like they follow you, no matter where you stand. Leonardo used really soft shading to make her face look realistic, almost like she’s alive. Today, the painting is in the Louvre Museum in Paris, and tons of people visit just to see her.

# data[].attributes.body
The sarcophagus of Junius Bassus is an early Christian sarcophagus from the mid-4th century, preserved in Rome. It is the most famous of its kind, and the high quality and variety of its carvings make it a fascinating testimony to the first centuries of Christianity.

# data[].attributes.body
The Virgin of the Rose is portrayed as a serene and maternal figure,
gently holding the Child Jesus close to her.
The rose, a symbol of purity and divine love, emphasizes Mary’s spiritual beauty.
Her expression conveys peace, protection, and deep tenderness toward humanity.
The artwork invites viewers to contemplate the mystery of sacred motherhood.

# data[].attributes.body
The Annunciation is when the angel Gabriel tells Mary that she will have a baby called Jesus. Mary is surprised and humble because she did not expect this news. She listens to the angel and accepts God’s plan with faith. Many paintings show a white dove for the Holy Spirit and flowers that show Mary’s purity. This moment is very important in Christian art and has been painted by many artists.

# data[].attributes.body
The Creation of Adam is a fresco on the ceiling of the Sistine Chapel, painted by Michelangelo around 1511. It illustrates one of the nine episodes from Genesis depicted there by the Tuscan artist, in which God gives life to Adam, The First Man. Chronologically, it is the fourth of the panels depicting episodes from Genesis on the chapel ceiling, was among the last to be completed, and is one of the most highly regarded and recognized works of art in the world.

# data[].attributes.body
The Church of Sant Climent de Taüll preserves one of the greatest masterpieces of Romanesque art: the majestic Pantocrator that dominates its apse. Few people know that the original fresco was carefully transferred a century ago and is now housed in the Museu Nacional d’Art de Catalunya, where a dedicated space recreates the atmosphere of the ancient church.

# data[].attributes.body
The Last Supper is a mural painting created by Leonardo da Vinci between 1495 and 1498. It is located in the convent of Santa Maria delle Grazie in Milan, Italy. The artwork depicts the biblical moment when Jesus announces to his disciples that one of them will betray him.

Leonardo arranged Jesus and the twelve apostles around a long table, showing their different reactions to the news. Jesus is placed at the center, making him the main focus of the scene. The painting is famous for its use of perspective, the emotional expression of the characters, and its balanced composition.

It is one of the most well-known works of Christian art and an important example of the Italian Renaissance.

# data[].attributes.body
The Last Supper is a mural painting by the Italian High Renaissance artist Leonardo da Vinci, dated to c. 1495–1498, housed in the refectory of the Convent of Santa Maria delle Grazie in Milan, Italy. The painting represents the scene of the Last Supper of Jesus with the Twelve Apostles, as it is told in the Gospel of John – specifically the moment after Jesus announces that one of his apostles will betray him.Its handling of space, mastery of perspective, treatment of motion and complex display of human emotion has made it one of the Western world's most recognizable paintings and among Leonardo's most celebrated works. Some commentators consider it pivotal in inaugurating the transition into what is now termed the High Renaissance.

# data[].attributes.body
The Paulines' Cave Church on Gellért Hill houses more than a hundred icons of the Wonderworking Mother of God (Virgin Mary). Perhaps few people know that an icon museum was opened here just three years ago.

# data[].attributes.headline
Prophecy at the biennial of contemporary Christian iconography

# data[].attributes.subject
Prophecy at the biennial of contemporary Christian iconography

# data[].attributes.body
These prospective or sketch-like prophecies are further detailed by about six hundred snapshot-prophecies, one-third of which concern the first coming of the Savior, and the other two-thirds His second coming. The Bible also defines itself as 'prophetic speech,' yet there are many visions of the future that, unlike prophecy or inspiration based on divine revelation, are false, superstitious predictions, divinations. He said, then emphasized: when the theme of a biennale is chosen, there is an increasing effort to also reflect on the current problems of the world, thereby helping to renew and reinterpret traditional Christian iconographic solutions and representations in contemporary visual and applied arts.

# data[].attributes.body
One of St. Ladislaus's Church Paintings (in the Church of the Dormition of Mary)

St. Stephen, St. Emeric, St. Ladislaus, St. Elizabeth, and in the center Mary with the Hungarian Crown
Mary's Crown = Hungarian Holy Crown (which we inherited from Attila... but who knows, maybe this crown was actually made for Mary... or for Jesus...? Mary was the daughter of a Parthian-Scythian-Adiabene king, so in this way, Jesus too.
Why were the Hungarian Kings called APOSTLE KINGS...? The word apostle means messenger. Apostle: Jesus chose them and gave them a mission.

# data[].attributes.attachment_caption
The original icon of Axion Esti, in Protaton Church, in Mount Athos.

# data[].attributes.body
Axion estin (Greek: Ἄξιόν ἐστίν, Church Slavonic: Достóйно éсть, romanized: Dostóino yesť), or It is Truly Meet, is a pair of hymns to the Virgin Mary used in the Divine Liturgies of the Eastern Orthodox and Byzantine Catholic churches, consisting of a magnification[1] and a theotokion.

Axion estin is also the name of type of icon of the Theotokos, also known as the Eleousa type, after the icon in front of which, according to tradition, the hymn was revealed in the late 10th century, an elder and his disciple lived in a cell on Mount Athos. The icon is currently kept in the Protaton in Karyes.

# data[].attributes.body
The oldest known icon of Christ Pantocrator is located in Saint Catherine's Monastery, in Egypt, at the foot of Mount Sinai. It was painted in encaustic on panel in the sixth or seventh century and survived the period of destruction of images during the Iconoclastic disputes that twice racked the Eastern Church. The icon depicts Christ fully frontal. He has two different facial expressions on either side of his face , on of them showing him as the bearer of mercy and grace (left half) and the other as the dreaded judge of unrepentant sinners (right half).

# data[].attributes.body
According to Orthodox tradition, the icon of the Theotokos Portaitissa was kept in Nicaea, Asia Minor. It was placed in a private church by a devout woman and her son. During the second iconoclasm, spies of the king discovered the presence of the icon and threatened the woman’s life unless she bribed them. The woman promised to give them money, thus gaining one more day.That same night, the woman prayed in front of the icon of Panagia Portaissa and placed it in the sea, so that it might be saved from the hands of the iconoclasts. As she left it in the sea, she spoke the following words:

«Our Lady, you have the power to save us from the wrath of the King as well as to preserve your icon from drowning». Then, something truly marvelous happened!

The icon of the Theotokos Portaitissa remained upright and was headed westward, towards the Garden of the Theotokos. Then, the woman said to her son, «My child, for the love of the Theotokos, I am ready to die. You must leave and go to Greece». In additiον, Panagia Portaitsa is known to the Orthodox for her many and great miracles. Finally, The Theotokos Portaitissa is honored annually on February 2nd, the same day of the Presentation of Jesus Christ the Candlemas.

# data[].attributes.body
The "icon of Saint Alexander of Constantinople" refers to a religious icon, depicting the Patriarch of Constantinople who lived in the 4th century. The icon is made using techniques such as hand-painting or lithography. According to the Synaxarion, Alexander was originally from Calabria in Italy and his parents were called George and Vryaine. It is far interesting that many icons show him participating in the First Ecumenical Council of Nicaea in 325 AD. He is commonly shown as an aged man, often with a beard, reflecting his long life.

# data[].attributes.body
According to the orthodox tradition, the icon of Panagia Portatissa was held in Nikaia of Asia Minor by a devout woman and her son. During the second Iconoclasm, the discovery of the icon was made by two byzantine soldiers, who threatened the woman to tell the king, if she didn't pay them to keep it between them. She promised to pay them the next day but instead, she throwed the icon into the sea, hoping it'll be saved. The icon stayed on top of the waves and sea level, while it continued to travel west. It was eventually collected by monks and placed on a special shrine in the main church of the Iviron monastery. The next day it was gone and later found close to the gate of the monastery. This went on for three days, until Virgin Mary appeared to Saint Gabriel and told him "Tell the brothers not to disturb me. I did not come here to be guarded by you, but to guard you. Those who live virtuously on this Mountain, hope in the mercy of my Son. For as long as my icon exists in your monastery, His grace and mercy will always overshadow you." After this incident, the monks built a chapel near the gate of the monastery and placed the icon there. The icon of Panagia Portaitissa protects the monastery ever since.

# data[].attributes.body
Saint Gregory the Theologion stand out for his faith and his combating heresies. The church gave him the title "Theologion" for his restraint. St Georgy was Archbishop of Constantinople and he celebrates on January 25. Also, he has the title of the hierarchs with St John the Chrysostom and St Basil the Great.

# data[].attributes.attachment_caption
This early work by Fra Angelico, likely made for private devotion, accentuates the drama of Christ’s Crucifixion. In the foreground the Virgin collapses in grief, surrounded by the lamenting Mary Magdalen and Mary of Cleofas. Behind them, a band of Roman soldiers and their horses stand watch around the cross. Some men focus their gazes on Christ, while others exchange glances. The innovative circular composition was inspired by the bronze doors created by Lorenzo Ghiberti for the Baptistry of Florence. In its focus on spatial effects and convincing human emotion, this painting provides evidence of what would become Fra Angelico’s trademarks.

# data[].attributes.body
The icon of Saint Stylianos depicts the saint as an elderly, gentle figure with a long white beard, often holding a swaddled infant in his arms. His expression is serene and compassionate, symbolizing his role as the protector of children. He is usually shown wearing monastic robes and a halo, emphasizing his holiness and dedication to caring for the young and the weak.”

# data[].attributes.wish_content.attachment_props.alternative_text
άγιος Στυλιανός εικονα 

# data[].attributes.body
The Virgin "Hodegetria" is a very famous type of orthodox Christian icon. Its Greek name means "She who shows the way". In this icon, the Virgin is shown holding the child Jesus with one arm. With her other hand, she points directly to him. This gesture is important because it guides the viewer to Jesus, who Christians believe is the path to salvation and the way to God.

# data[].attributes.body
The Byzantine Museum "Oxeia Episkepsis", part of the Holy Church of the Dormition of the Theotokos in Makrinitsa, is a modern museum space that was created to safeguard and display, using the most advanced technological means, the most important ecclesiastical heirlooms of the historic Pelion village of Makrinitsa. Among its rare and valuable Byzantine relics is the 13th-century marble relief depiction of the Panagia "Oxeia Episkepsis". The museum's collections also include sacred vessels, wood carvings, banners, epitaphs, vestments, early printed books, and liturgical texts.

# data[].attributes.headline
Agia Zoni - Holy and Great Monastery of Vatopedi

# data[].attributes.subject
Agia Zoni - Holy and Great Monastery of Vatopedi

# data[].attributes.body
The relief work becomes particularly prominent (high-relief), and the zones multiply, which, due to their perforated technique, resemble lace. The thematic repertoire is enriched and combined in various ways, while a naturalistic rendering is attempted. The entire surface of the background is gilded. The columns acquire second and third capitals, and the epistyle is transformed into a heavy entablature. The iconostasis (altar screen) is transformed into an impenetrable barrier between the main church (nave) and the sanctuary (altar area), rises to the top of the walls, and leans forward.

# data[].attributes.headline
When water receives the grace of the Holy Spirit... (Byzantine calligraphy)

# data[].attributes.subject
When water receives the grace of the Holy Spirit... (Byzantine calligraphy)

# data[].attributes.body
«ΚΑΛΛΙΣΤΟΝ ΔΕ ΣΤΟΙΧΕΙΟΝ ΤΟ ΥΔΩΡ ΚΑΙ ΠΟΛΥΧΡΗΣΤΟΝ ΚΑΙ ΡΥΠΟΥ ΚΑΘΑΡΕΙΟΝ ΟΥ ΜΟΝΟΝ ΜΕΝ ΣΩΜΑΤΙΚΟΥ ΚΑΙ ΨΥΧΙΚΟΥ ΔΕ ΕΙ ΠΡΟΣΛΑΒΟΙ ΤΗΝ ΧΑΡΙΝ ΤΟΥ ΠΝΕΥΜΑΤΟΣ»

"Water is the best element and it is most useful. It cleans not only the physical dirt but also the dirt of the soul when it receives the grace of the Holy Spirit".

Quote by Saint John of Damascus

Byzantine Calligraphy created at the Iconography lesson at the Ecclesiastical School of Xanthi (Greece) - Teacher: P. Sereti.

# data[].attributes.headline
Nothing is greater than a pure heart (Byzantine calligraphy)

# data[].attributes.subject
Nothing is greater than a pure heart (Byzantine calligraphy)

# data[].attributes.body
"ΔΕΝ ΥΠΑΡΧΕΙ ΤΙΠΟΤΑ ΜΕΓΑΛΥΤΕΡΟ ΑΠΟ ΜΙΑ ΚΑΘΑΡΗ ΚΑΡΔΙΑ ΔΙΟΤΙ ΑΥΤΗ ΓΙΝΕΤΑΙ ΘΡΟΝΟΣ"

THERE IS NOTHING GREATER THAN A PURE HEART BECAUSE THAT BECOMES A THRONE

Byzantine Calligraphy created at the Iconography lesson at the Ecclesiastical School of Xanthi (Greece) - Teacher: P. Sereti.

# data[].attributes.headline
Know the works of the virtuous (Byzantine calligraphy)

# data[].attributes.subject
Know the works of the virtuous (Byzantine calligraphy)

# data[].attributes.body
"ΓΝΩΡΙΖΕΤΕ ΟΛΑ ΤΑ ΚΑΛΑ ΕΡΓΑ ΤΩΝ ΔΙΚΑΙΩΝ"

KNOW ALL THE WORKS OF THE VIRTUOUS PEOPLE

Quote of Gregory of Nazianzus

Byzantine Calligraphy created at the Iconography lesson at the Ecclesiastical School of Xanthi (Greece) - Teacher: P. Sereti.

# data[].attributes.headline
The candle of charity (Byzantine Calligraphy)

# data[].attributes.subject
The candle of charity (Byzantine Calligraphy)

# data[].attributes.body
"H ΛΑΜΠΑΣ ΤΗΣ ΕΛΕΗΜΟΣΥΝΗΣ"

THE CANDLE OF CHARITY

Work created at the Byzantine Calligraphy lesson at the Ecclesiastical School of Xanthi (Greece).

# data[].attributes.body
According to Christian tradition, the icon of the “Peć Mother of God” was painted by Saint Apostle Luke in the middle of the first century (in the year 48), and it was brought to Serbia by Saint Sava as a gift from the Patriarch of Constantinople. When the patriarchate was transferred to Peć, this icon was moved there as well.

For centuries, members of other nationalities—such as Turks and Albanians—also treated this miraculous icon with reverence. Orthodox Christians and the inhabitants of Peć believe that the icon performed many miracles for them: it protected them from cholera, acted miraculously during fires, and served as a source of comfort during the time of foreign rule.

# data[].attributes.body
The most significant icon of the Serbian people, and also the most venerated one in the Hilandar Monastery, the greatest Serbian shrine, is the Icon of the Virgin Mary of the Three Hands (“Trojeručica”).

According to tradition, its author is the Apostle Luke, who is considered the earliest Christian painter. It is especially important that Saint Sava brought it to Serbia. It is believed to possess healing powers.

This sacred work of our church art was long kept in the home of the Nemanjić dynasty and was passed down from generation to generation. At the end of the 14th century, the icon was transferred from Emperor Dušan’s court to Studenica. Today, the miraculous Virgin Mary of the Three Hands is kept in Hilandar, while one of the most faithful copies of this holy icon is located in the Temple of Saint Sava in Belgrade.

# data[].attributes.headline
The icon of Theotokos made by  Luke the Evangelist from wax (Monastery of the Dormition of the Theotokos - Kalavryta).

# data[].attributes.subject
The icon of Theotokos made by  Luke the Evangelist from wax (Monastery of the Dormition of the Theotokos - Kalavryta).

# data[].attributes.headline
The Vestibule Mosaic of Konstantinoupoli 

# data[].attributes.subject
The Vestibule Mosaic of Konstantinoupoli 

# data[].attributes.headline
Mosaic of the Monastery of Hosios Loukas

# data[].attributes.subject
Mosaic of the Monastery of Hosios Loukas

# data[].attributes.wish_content.attachment_props.alternative_text
Mosaic of the Monastery of Hosios Loukas

# data[].attributes.body
The history of Byzantine music spans from the foundation of Constantinople in 330 AD until its fall in 1453, but its traditions continue to this day. It emerged from a blend of Hellenistic, Jewish, and early Christian musical practices in cities like Antioch and Alexandria. Initially relying on oral transmission, the chant developed its unique eight-mode system (echoi), which some trace back to 6th-century Syria. The notated tradition began to formalize in the 10th century with neumes, reaching a "golden age" of psaltic art and sophisticated compositions in the 14th century, exemplified by figures like John Koukouzeles. It remains the sacred vocal music of the Eastern Orthodox Church.

# data[].attributes.headline
 Panagia Evaggelistria of Tinos (Our Lady of Tinos) (Greece)

# data[].attributes.subject
 Panagia Evaggelistria of Tinos (Our Lady of Tinos) (Greece)

# data[].attributes.body
The shrine of the Holy Church of Panagia Evaggelistria of Tinos (Our Lady of Tinos) is the most important orthodox shrines of pilgrimage in Greece and one of the most famous throughout the world. The Church of Evaggelistria was built on the site where the Icon of the Annunciation of the Virgin Mary was miraculously discovered, after the Nun Pelagia had a vision. The faithful believe that the Icon performs miracles, and there are inspiring stories of the redeeming intervention of the Virgin Mary, which people have been fortunate enough to experience after dedicating fervent prayers to Her during difficult times in their lives

# data[].attributes.headline
Virgin Hodegetria at the Monastery of Xenophon-Mt Athos (Greece)

# data[].attributes.subject
Virgin Hodegetria at the Monastery of Xenophon-Mt Athos (Greece)

# data[].attributes.body
The icon of the Theotokos Hodegetria is considered one of the miraculous icons of the Virgin Mary that is preserved on Mount Athos and dates back to the 14th century.

# data[].attributes.headline
Christ Pantocrator- Holy  Catherine's Monastery of Sinai (Greece)

# data[].attributes.subject
Christ Pantocrator- Holy  Catherine's Monastery of Sinai (Greece)

# data[].attributes.body
is one of the oldest Byzantine religious icons, dating from the 6th century AD. The earliest known surviving depiction of Jesus Christ as Pantocrator (literally ruler of all), it is regarded by historians and scholars among the most important and recognizable works in the study of Byzantine art as well as Eastern Orthodox and Eastern Catholic Christianity.

# data[].attributes.headline
Christ Pantocrator- Mosaic-Holy Monastery of Hosios Loukas- Boeotia-UNESCO's World Heritage Sites (Greece)

# data[].attributes.subject
Christ Pantocrator- Mosaic-Holy Monastery of Hosios Loukas- Boeotia-UNESCO's World Heritage Sites (Greece)

# data[].attributes.body
Holy Monastery of Hosios Loukas in Boeotia,The Catholicon Narthex (11th century) (Greece)

# data[].attributes.headline
Stone carving from Koutloumousiou Monastery - Mt Athos (Greece)

# data[].attributes.subject
Stone carving from Koutloumousiou Monastery - Mt Athos (Greece)

# data[].attributes.body
Stone carving from Koutloumousiou Monastery - Mt Athos (Greece)