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The aim of this exhibition is to introduce the audience to aspects of Eastern Orthodox Christianity using a compilation of the multicultural and multiethnic nature of the religion as shown through the vestments worn by the Priesthood and monastics. For context, the exhibition begins with a geographic introduction to where Eastern Orthodox Christianity (Orthodoxy) can be found in concentration. My personal experience and knowledge with Eastern Christianity informs heavily the curation of objects. Others who are of the faith may choose other ways to represent the “borders” associated with Orthodoxy, however, I maintain that showing the physical beauty and complexities of the faith through vestmentation will create  visceral and aesthetically enticing viewership experience. One theme that permeates the entire exhibition is one of transnationalism. Some regularly encountered questions for Orthodox Christians from those who are curious or misinformed about Orthodoxy are: “What type of Orthodox are you?”, “So you are like Catholic?”, or “Are Greek and Russian Orthodox different faiths?” to cite some. This stems from the common misperception of the Orthodox church as theologically fragmented by country. Therefore, a secondary aim of this exhibition is to clarify that while aesthetically, the Orthodox faith differs due to each culture who has received the faith creating their own traditions and fully incorporating local styles into the vestments (and iconography), the Eastern Orthodox church is widely in “communion” with one another and theologically, meaning the beliefs expressed across borders is the same.

As the curator, I took three main approaches to expressing the theme of transnationalism. The first was to display a diversity of styles, colors, and motifs found across the Church in the vestmentation. Therefore, the compilation of images found from all corners of the internet were selected based upon personal discretion and knowledge. This creates an interesting dynamic regarding representation. Because museum exhibitions are at risk of misrepresenting the objects selected due to an outsider’s perspective from a curator, this conflict of representation is subverted in this exhibition which comes from an emic perspective. The second approach to displaying transnationalism was to show the different variations of vestments and dress by role in the church. The vestments worn by bishops and priests differ in the symbolic elements and in status. A monastic’s humble dark robes are not vestments themselves, but a monastic by definition in the Orthodox church, is called to live in poverty and humility. The third approach was to show the diversity of ethnicities found within the church and how each culture has adopted the same traditions and morphed them in a unique way while maintaining the symbolism and importance of Orthodox vestments. One distinction stressed in the exhibition is the “maximalist” approach Orthodoxy takes to worship. Compared to the “austerity” of Protestant sects and the Western style of Catholicism which holds its own unique beauty, the Orthodox church has maintained the traditional vestmentation for nearly 2000 years. I incorporated this element of “crossing the border of time” by including Orthodox icons where the saints depicted, despite being painted centuries previous to the contemporary age, adorn the same vestment style. These incorporated perspectives and approaches are to help inform the audience as best as possible despite the only small portion of the faith which can be represented in this exhibition.

Enjoy the exhibition!

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The Great Divide: Geographic Containment of Orthodxy

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The Great Divide: Geographic Containment of Orthodxy

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This map displays the concentration of Eastern Orthodox churches in the Mediterranean, Eastern hemisphere, and West Europe. An undeniable, but unseen border appears as a result of a progressive divide brought about by the advent of the Great Schism of 1053 A.D, the Protestant Reformation, the rise of secularism, and the Soviet Union. While piously preserved in the Baltics, these regions have suffered repressive, nationalistic regimes that have weaponized religions against one another. The goal of this exhibition is to reveal the forgotten and underrepresented ancient traditions, preserved through the vestments and iconography of the Church, and demonstrate the transnational, multiethnic nature of Orthodoxy.

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The "Three Hierarchs" of the Orthodox Church refers to St. Basil the Great, St. John Chrysostom, and St. Gregory the Theologian. Notice the vestments worn by all three. These vestments are the garb of Bishops and only worn in such fashion by consecrated Bishops. While contemporary vestments in the Anglican, Catholic, and other hierarchical churches differ from this traditional vestmentation, the Eastern Orthodox Church still ordains its hierarchs in the same fashion. Variations exist between the ethnic communities within the church, for example, the designs on the Phelonion (the large top vestment worn over the rest of the vestments) or the Epitrachelion (the white scarf with the cross symbols as displayed in the icon) differ in aesthetics and motifs between the Russian and Ethiopian dioceses.

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The Real Life Vestments of an Eastern Orthodox Bishop

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The Real Life Vestments of an Eastern Orthodox Bishop

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The following image depicts several bishops in the foreground wearing a comprisal of vestments similar to that in the icon of "The Three Hierarchs".

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The Real Life Vestments of an Eastern Orthodox Patriarch

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The Real Life Vestments of an Eastern Orthodox Patriarch

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While those who are unaccustomed to viewing Orthodox vestments, one might think "they are dressed so elaborately!". While Orthodox vestments have continued to be elaborate in design for nearly 2000 years, the Patriarch of Jerusalem, Theophilos III (in the picture below) ordains relatively simple vestment (in regards to the motifs on the fabric and jeweling).

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The Real Life Vestments of an Eastern Orthodox Patriarch (cont.)

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The Real Life Vestments of an Eastern Orthodox Patriarch (cont.)

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Juxtapose the vestments of Patriarch Theophilos III in the previous picture to that of him in beautifully woven and bejeweled robes. Atop his head is a traditional Byzantine Mitre (a crown of sorts). The shape and size of the Mitre differ culturally. The Ethiopian Church sometimes wears a Mitre that is not rounded land bulbous like the one below but rather smaller, black, and resembling a "cupola".

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While the diagram says "Priest", it truly refers to Bishops (or High Priests). It is important to note that each aspect of a priest's or bishop's vestments is derived from apastolic tradition, which predates of the formulation of the canonical New testament. These symbolic pieces and ornaments can be found in each ethnic "flavor" of Orthodox vestments.

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The icon below shows St. Silouan the Athonite. The robes worn by St. are commonplace amongst monastics, or monks. They tend to be completely black, or dark in color, loose, and simple.

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The image below shows a (Russian) Orthodox monk. Because bishops must first vow to a monastic life, and become a monk until their consecration, their vestmentation retains the "base" robing of a monk. This can be seen in the image above of the Patriarch of Jerusalem.

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Below is a more recent photo of a monastic (monk). From the past three "Humble Monk" pictures, you can see the non-progression of the garb throughout the border of time.

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For those who are curious, nuns in the Orthodox church wear the same or a similar variation of the traditional garb. Below shows a group of nuns from St. Elizabeth convent.

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Below shows a group of Syrian-Orthodox nuns praying after their release from being kidnapped during the Syrian-War. Their robes only differ on the head, which is reminiscent of the Muslim-silhouette with a Hijab. Not having a structured "head garb" is also found throughout the diocese of Orthodoxy. In some orthodox traditions, only young-nuns who have not been taunchered ("Married-to-Christ" in a special service) wear their head garb un-structured.

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Larger differences between the "Oriental" Orthodox churches and the Eastern Orthodox churches can be seen within the vestments as well.

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The Oriental Apostolic Churches, or the Orthodox Church in the "Orient" have a different take on vestments. The variations are largely to do with shape and aesthetic motifs rather than the actual components (which can be shown in the Diagram towards the beginning of the exhibition).

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Below is a spectacular photo of several representative from around the Orthodox world, celebrating their common faith. The "Oriental" churches usually refer to Armenian, Coptic, Antiochian, Syriac, churches. While the faith transcends borders, the vestments reflect the traditional variations from culture to culture.

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What can be observed throughout Orthodox vestmentation is the elaborate embroidery and coloration of the vestments. Below is a picture of an Ethiopian Orthodox priest holding a large cross. As one can see, Orthodoxy takes a maximalist approach to worship.

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While the Ethiopian church tends to be referenced along with the rest of the "Oriental" facet of Orthodoxy, the Ethiopian church can also be qualified as individually unique. The Ethiopian church boasts an array of cultural celebration and unique vestmentation.

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Orthodoxy, contrary to what the map at the beginning might suggest, has laid its roots beyond the Mediterranean and East Europe. The "Eastern" aspect of the church expands into east Asia. Below is an icon painted in tribute to the Chinese orthodox martyrs of the Boxer Rebellion (1899-1901). Due to imposing secular, communist structures present in modern day China, all religions have struggled to maintain vitality in the region.

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"Far Eastern Religions" colloquially in the west do not include Christianity among them, unless being discussed in a "colonizers" context. Hinduism, Buddhism, forms of Shamanism, and even Islam are thought of. Fairly, Orthodox Christianity has never been a dominant faith in Asia, but interestingly, Orthodoxy has made more recent waves in the 20th century in countries like Japan. Orthodoxy has not been established long enough for unique aesthetic and cultural traditions to shape the vestmentation or liturgy, therefore, Orthodox churches in Asia tend to maintain the vestmentation of Eastern European churches. Below is a picture of a Serbian priest (right) and a Japanese monk who came from a Samurai family and converted (left).

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Christianity has been often reduced to the religion of "White colonizers", corrupt principalities, and the outdated foundation of American "national identity" ("Under one God..."). However, the transnational identity of Orthodoxy subverts this narrative. The Eastern orthodox faith has been pushed into the "East" for centuries by western philosophizers, secularists, monarchs, and adverse faiths. The stereotype of a "White, western" Christianity is itself, an ignorant and disingenuous portrayal by academia and scholars that this exhibition hopes to change. The very existence of the Armenian, Coptic (Egyptian), Ethiopian, Syriac (and Antiochian) dioceses has transcended the borders of time and those put forth by the contemporary age. Christianity has existed within the "borderland" of the East far before it ever reached our conception of Europe. The vestments and iconography of the Orthodox church represent this transcendence in a hopefully, new and encompassing manner. For more: