Latest news with #Coptic
Mada
8 hours ago
- Entertainment
- Mada
Plastic Jesus, real devotion
Xenia Nikolskaya's latest photobook Plastic Jesus presents a selection of photographs of Coptic merchandise and architectural interiors from her trips across Egypt between 2003 and 2010. The hardcover book, designed by Omar al-Zo'bi, includes 52 images, an introduction by Adam Makary and a love letter by Nikolskaya herself. The book derives its title from an American folk song — a religious parody about finding temporary solace in a plastic Jesus figurine, which opens with the following verses: I don't care if it rains or freezes long as I have my plastic Jesus glued to the dashboard of my car comes in colors pink and pleasant glows in the dark cause it's iridescent take Him with you when you travel far Nikolskaya's voice rises a pitch when she asks me, 'Have you heard the song Plastic Jesus played by the famous actor in that scene?' I pull up a low-res Youtube video, which I watch a few times on repeat. In the 1967 chain gang drama Cool Hand Luke, a rebellious prisoner who refuses to submit in a Florida prison camp gains the admiration of his fellow inmates with his heroic attempts to escape. Luke, a small town guy, is serving two years of forced labor for breaking off the tops of parking meters, just because there's 'not much to do in the evenin'.' The establishment wants to beat him down, but Luke refuses to let anyone think they've broken his spirit. When he receives a telegram about his mother's death, his cell mates, in a show of respect, silently leave the room one at a time, allowing him to grieve in privacy. Luke sits on a bunk bed and, staring into space, grabs a banjo and sings the popular folk song Plastic Jesus as a requiem for his mother: Get yourself a Sweet Madonna dressed in rhinestone sittin' on a pedestal of abalone shell goin' ninety, I ain't scary 'cause I've got my Virgin Mary assuring me that I won't go to Hell Nikolskaya's reference to the folk song in the title of her latest photobook completes a journey that unfolded over twenty-two years, and which brought her from Russia to Egypt. The book launches in Cairo this month. It comes at a time marked by a dramatic shift in the digital media landscape and the ways in which we engage with images and news stories. What coincides with a volatile global political moment is the possibility for horrific images of war, of detonated bodies, starved children, to be broadcasted live daily and reported by citizen-journalists out of closed military systems. To witness ordinary people forced to become heroes just to survive unimaginable pain under extraordinary conditions makes tangible the saint-like figure we often encounter suspended in the disbelief of fiction or religious scripture. We live in a moment where 'the saint-like heroes are the heroes of war,' as Nikolskaya puts it. In the image of Saint Mark the Evangelist, the first pope of Alexandria, believers see the symbol of a religion born amid the quiet whispers of secrecy. Saint Mark, whose family is said to have been a close companion of Jesus Christ, was himself chosen as one of the Seventy Apostles. He established the first church in Africa and spread Christianity through various places in Eurasia. With the founding of the church in Alexandria, he became the first in an unbroken lineage of Coptic popes. According to Coptic tradition, he was martyred in 68 AD by a mob of Romans who dragged him through the streets for two consecutive days until his death. He was also the first to inaugurate a far grimmer continuity: the steady current of Egyptian martyr-saints. A religion that spread under the threat of persecution would go on to favor concealable everyday objects over large structures to symbolize faith. The images of saints featured on ordinary items are redolent of a decentralized church, they are 'things that you have in your pocket,' Nikolskaya explains, 'in your car, your home. It's not the Cathedral of St. Mark, but for you, it can be as amazing as any of these monuments.' It is the church ever present in your home. Plastic Jesus depicts 42 disposable but sacred artifacts collected, or rather purchased, from Coptic gift shops along various historic monasteries and church complexes down the Nile Delta and Upper Egypt. The photobook is designed as a counter-museum catalogue with local religious figures featured on fridge magnets, pillows lined in faux-fur, mugs, pens, watches, rubik's cubes, smartphone cases — all either laser-cut, carved or printed on variations of silicons, aluminums and plastics. I. Coptic Kitsch Plastic Jesus evokes a nostalgic desire for kitsch objects to counteract the colonial and class biases of 'high' culture. These ordinary artifacts that populate the lives of believers are found in a variety of ever-changing trends in any Coptic gift shop across the country. Essentially, they're keeping a cultural economy alive in rural Egypt, where many of the workshops and factories are found. Coptic-kitsch re-packages ancient imagery for a new generation of consumers (read: believers). The book carries a certain air. It is cool, aloof, and doesn't give a shit if you think these objects are sacred — it tells you they are. The cover is laminated with a Gothic cross in hot pink pasted across an etching of Jesus Christ. Lined in matching pink paper, the book's sober typography and minimal color-scheme are designed to point your attention to the colors, textures and shapes of the 'flamboyant' artifacts in the collection. It asks that we play a game of code-switching, to reconsider these objects, not in their pure materiality, but in the image of what they represent. It doesn't question the sacredness of these objects, but rather celebrates it. It is precisely because they are sacred that Nikolskaya creates a museum-grade catalogue to exhibit them. Visitors in a Coptic church will often lay their hands and kiss icons on the church walls as a symbolic act to connect with a saint via a tactile engagement with their image. The image of a saint, believed to be sacred in the Christian tradition, is an imprint through which, in a collective effort of remembrance, the epic tales of struggle and the saint's attributes are kept alive. As Adam Makary points out in the introductory text, the preservation of sacred emblems is itself a sacramental act and a church duty. The images of saints also serve to reflect something back to believers by evoking their emotions. 'They're handlebars on a long journey,' Nikolskaya says when I ask her what they represent to her. With an almost religious assertiveness, she dedicates the book to 'the people of Egypt,' emphasizing that it is 'made by them for them and for us to truly believe what we believe.' The bold font, all in capital letters, of the dedication text, echoes the graphic intensity of iconic works of contemporary feminist art: the neon-colored posters in Jenny Holzer's 'Inflammatory Essays,' wheat pasted across city streets and Barbara Kruger's 1980s stark slogans in Futura Bold, layered over found imagery. II. Sacred Junk In between a steady stream of softly-lit artifacts in Nikolskaya's Plastic Jesus are spreads of architectural spaces where some of the objects reappear in context. Having first travelled to Egypt in 2003 as an archaeological field photographer with the Russian Egyptological mission, Nikolskaya wryly points to the colonial underpinnings of the field: 'I was often surprised,' she says, 'by the artifacts they chose to save.' She leaves it at that. But her critique surfaces through her architectural photography, which highlights archaeological sites not just as historical locations but as significant spaces that continue to be utilized to this day. The ancient sites are lived-in, even when in the absence of people — they display traces of movement. Rather than kill an artifact in order to preserve it, Nikolskaya engages with the tradition while it is still alive. These plastic trinkets, often dismissed as cheap commercial goods, are seldom included in the corpus of Coptic heritage. But by granting them museum-grade treatment, the book quietly insists that we reconsider them as tangible material of tradition. However the parody, as highlighted in the following verses of Plastic Jesus (the folk song), is that, while sacramental value is often associated with being eternal, cheaply-made things are manufactured in cheap material, which is prone to breakage, wear and tear, and disintegration into microplastics—so, at what point in the breakage of a Jesus figurine does it stop being sacred? Can we dispose of a sacred object and if so, how? Plastic Jesus, Plastic Jesus riding on the dashboard of my car though the sunshine on His back makes Him peel, chip and crack a little patching keeps Him up to par Plastic Jesus, Plastic Jesus riding on the dashboard of my car I'm afraid He'll have to go His magnets ruin my radio and if I have a wreck, He'll leave a scar III. Holy Assemblage Nikolskaya identifies as a secular Christian and places herself in the narrative. She seems driven more by curiosity than a set itinerary through the local landscape. Although she relies solely on natural lighting in her architectural photography, she manages to bring our attention to the stark contrast of colors and meaning. She highlights points of tension in the ancient sites: an electric fan on a bench near an altar in a fourth century monastery; a fluorescent pink satin fabric dripping off an old wooden cupboard against a wall painted in lime green; a digital embroidery of the last supper hanging crookedly above a row of plastic tables, themselves covered in Pepsi-branded tablecloths. 'If the light is there, you have the image,' she says, as if it were so effortless. The photos in Plastic Jesus, in the sheer amount of detail they carry, invite you to indulge in the tense juxtaposition of old and new, holy and mundane, authentic and mass-produced. The book highlights the affective (read: emotional) experience of a niche cultural economy of Coptic-kitsch artifacts, and emphasizes the need for a more nuanced approach to cultural preservation. But in the age of the made-in-China and as we continue to witness the catastrophic effects of microplastics on our environments, wildlife and subaltern communities, the book may leave you wondering: Have we crossed a threshold whereby microplastics are now so enmeshed in the fabric of our lives that they have even become things of eternal sacramental value? If the saints are with us, maybe they're made of plastic. Maybe that's the point.
Watani
a day ago
- General
- Watani
How Mar-Mina's Marble City was discovered… A gripping story
Tomorrow, 21 June 2025, Copts celebrate a feast of Mar-Mina, the feast of consecrating the first church in his name. Watani marks the event by posting this story about the discovery of his tomb and marble city in Egypt's Western Desert. On 20 May 2025, Pope Tawadros II paid a visit to the archaeological site of Abu-Mina, some 60km southwest Alexandria. The sprawling 1000-feddan site [one feddan is equivalent to 4,200sq.m] is home to the tomb of the Coptic saint, the Martyr St Menas (285 – 309AD), commonly known as Mar-Mina; also the magnificent 4th / 5th-century cathedral, churches and city that were built around the tomb, in addition to the modern-day monastery of Mar-Mina. Together with the Pope were Alexandria Governor, Major General Ahmed Khaled; Egypt's Minister of Tourism and Antiquities Sherif Fathi; Director of UNESCO Regional Office in Cairo Nuria Sanz, and high ranking officials from the Supreme Council of Antiquities (SCA). The purpose of the visit was to inspect the project being implemented in the area to reduce the level of the groundwater, a result of agricultural projects in the area, which threatens the archaeological remains at the site. Abu-Mina's had been placed on UNESCO's World Heritage List in 1979, but was in 2001 moved to UNESCO World Heritage in Danger, owing to the detrimental effect of the rising groundwater. Coordinated efforts between the Egyptian government—including the ministries of irrigation and agriculture—and Mar-Mina Monastery have been ongoing to reduce the underground water, but further work still needs to be done. For full details: Saving Mar-Mina's splendid place The martyr An officer in Diocletian's army, the young man who was to become St Menas was posted to Phrygia in Anatolia in present-day Turkey. Brought up as a Christian, he refused to participate in the massacre of Christians ordered by the emperor Diocletian in 303 and fled into the desert, where he lived devoutly for five years. But he saw in a vision that he had to die for his faith; he was tortured and martyred in 309. Tradition has it that the martyr's followers intended to take his remains from Phrygia to Alexandria by ship, then on camelback to his birthplace at Pentapolis in the Libyan Desert. At a spot southwest Alexandria, however, the camel knelt and refused to move on, so this was taken to be Mar-Mina's preordained burial site and there he was laid to rest. The incident explains his famous depiction with two kneeling camels in his icon. Over time, the burial site was forgotten till a local goatherd discovered that a sick goat made an extraordinary recovery after bathing and drinking from a spring at this spot. Word went out about the miraculous spring and other cures occurred, the most famous involving a princess who had suffered from a long sickness. The princess had a vision of St Menas asking her to dig in a nearby spot where she would find his body. The relics of the saint were dug out, and pilgrims began to flock to the site for the blessings of the saint and to drink the healing water. Not long afterwards a church was erected at the site which became a sacred place of pilgrimage and around which a splendid city sprung. The site was later called Abu-Mina by the Arabs, 'Abu' being a corrupted version of the Coptic 'Ava', meaning saint. Magnificent city, splendid basilica The focal point of the city, later dubbed Abu-Mina's, was the small tomb of St Mena. A small compartment was built above the tomb in the early 4th century then, in mid-4th century, the first church was built above that cabin. In the early 5th century a spacious, magnificent church was built on the eastern side by order of Emperor Arcadius who spared no effort or money in decorating and ornamenting it with precious marble, mosaics, and exquisite paintings. A town grew around the church to minister to the pilgrims, replete with churches, elegant houses, inns, bathhouses, water cisterns, and shops and markets. The central basilica was so admired by ancient historians; they called it 'the greatest and most beautiful Egyptian church', 'a masterpiece of Christian art', 'Delight of the people of Egypt', 'the Christian Acropolis', and also the 'Marble City'. The beautiful pavements of the city and its coloured marble columns were unequalled. Emperors Constantine I (312 – 337), Arcadius (395 – 408) and Zeno (457 – 474) left their mark on the city. Pilgrims would take home tiny terracotta flacons, known as ampullae, stamped with an image of St Menas and the two kneeling camels, filled with healing water from the famous spring. The city itself had several channels to transport water from the holy spring to large pools, reservoirs, baths and halls dedicated to receiving patients. The neighbouring land soon turned into fruitful vineyards and orchards in the middle of the desert. The prosperity was brought to a halt by the breakdown in law and order that followed the collapse of Roman rule in North Africa. Tribesmen overran the site, its pilgrims fell victim to robbers, and the beautiful gardens were abandoned. Historian Abul-Makarem wrote that the church stood till the 13th century, then was claimed by the desert sand. The search Mar-Mina's tomb and his Marble City remained ruined for centuries, interred in the sand. It took until the 20th-century for them to be unearthed. Their discovery makes for a gripping story indeed. The wonderful discovery was made by a German archeological expedition that came from Frankfurt to Egypt in 1905 under the leadership of the German biblical archaeologist Monsignor Karl-Maria Kaufmann (1872 – 1951). It should not have been too difficult for Monsignor Kaufmann to find the city; others who preceded him had cast light on the location. The ruined site had more or less retained its name, albeit in a corrupted form; it was known by the local Bedouin as Boumnah. In 1824, the French explorer Jean-Raymond Pacho unknowing passed through the site on his way from Abu Sir to Qasr al-Qatagi, 35 km south of Abu-Mina. He crossed what he described as ruins of an old village that included, under piles of stones, two columns that went back to the Roman era. Other explorers and travellers followed, finding ostraca or pottery made in what they assumed to be the ruined city of Abu-Mina. These relics were studied in Alexandria by the Archaeological Society of Alexandria, founded in 1893. In 1905, the Society's Ralph Carver concluded for the first time that there must be a link between the names Boumnah and Abu-Mina. He decided to go to this Boumnah, took the desert train to Bahij station, and from there walked south for two hours under guidance of one of the Bedouins until he reached a place full of rocks, stones, pottery, and cast bottles. He wrote a report on 26 August 1905, attaching various paintings and drawings of what he had found. Sea of rubble Among the founders of the Archaeological Society of Alexandria was Italian archaeologist Evaristo Breccia. He had been exploring the Western Desert since 1904 in search of Abu-Mina when he met the German expedition led by Monsignor Kaufmann. And here Breccia wrote: 'We had to humbly withdraw before the expedition led by Monsignor Kaufmann who came to Egypt to pursue the same goal, because his expedition possessed material capabilities and medical preparations that I did not have.' Yet Monsignor Kaufmann and his men faced great difficulties. They had trekked the desert on camelback for 30 days from Wadi al-Natroun to the site of Abu-Mina, then camped there in tents placed at their disposal by the Egyptian government, and which flew the Egyptian and German flags. Monsignor Kaufmann In his book 'The Holy City in the Desert', published in German in 1914, Monsignor Kaufmann gave a precise description of what he saw: 'We went around the area and saw a sea of rubble, and there was almost no stone on top of another. The heaped hills of rubble were distinguished by their gray colour from the yellow surrounding desert. When we stood on the highest rubble hill, we saw that the destruction of the place had been so complete that its rediscovery was a work that needed great courage.' For months, the expedition dug out ruin after ruin, but failed to find what they were looking for. Kaufmann fell ill. Stressed and disappointed, the men thought about returning to their country in despair. They said farewell to their Bedouin guide, but then a Bedouin boy came with an intact flacon of St Menas, and gave it to Ewald Falls, Monsignor Kaufmann's assistant, saying that he had found it in one of the ancient pottery ovens near the place they had been digging. Discovery! The expedition went back to working with zeal. Finally, one of the Bedouins guided them to a spot they called the Caliph's Castle, which was a huge heap of stones. Excavation beneath it revealed the remains of the church built by the Coptic Pope Theophilus (385-412 AD). This great discovery was made on 7 July 1905, after which the expedition returned to Alexandria to organise its work to resume excavation in November that same year. They unearthed the 5th-century marble city which Monsignor Kaufmann dubbed the 'Christian Acropolis'. In 1906-1907, the German expedition discovered the tomb of St Menas and the grand church, also the cemetery and its church, and the plantations. In 1907, they discovered the baths, and found the huge bathhouse next to the church. They also found many scattered wells, houses, and shops that confirmed the image of the site as a fully fledged, magnificent marble city. Monsignor Kaufmann dubbed it the 'Christian Acropolis'. It took till the 1960s, however, for Abu-Mina to regain its status as a pilgrimage site. In 1959, St Pope Kyrillos VI became Patriarch of Alexandria; he held a deep seated interest in honouring Mar-Mina by building a modern monastery on the grounds of Abu-Mina. He was able to accomplish that in collaboration with the Mar-Mina Society for Coptic Studies in Alexandria which was founded in November 1945. Today, the modern Mar-Mina Monastery boasts two churches that house the relics of Mar-Mina and St Pope Kyrillos, and all the amenities of a thriving monastic site, in addition to excellent visitor facilities. It stands a few kilometres distance—a safe archaeological buffer—from Abu-Mina site. —————— Mina Badie Abdel-Malek is member of Mar-Mina al-Agaibi Society for Coptic Studies in Alexandria, and Professor of Engineering at Alexandria University . Watani International 21 June 2025 Comments comments
See - Sada Elbalad
a day ago
- Politics
- See - Sada Elbalad
Serbian Prime Minister Visits Saint Catherine Monastery in South Sinai
H-Tayea Serbian Prime Minister Đuro Macut visited the historic Saint Catherine Monastery in South Sinai as part of his official visit to Egypt, which includes tours of key archaeological and cultural sites across the country. The Prime Minister and his accompanying delegation were welcomed by Gamal Mostafa, Head of the Islamic, Coptic, and Jewish Antiquities Sector at Egypt's Supreme Council of Antiquities, and Bishop Dimitri Dumanos, Metropolitan of Saint Catherine Monastery. During the visit, the delegation toured major landmarks within the monastery, including the Church of the Transfiguration, the Fatimid-era mosque, and the renowned ancient library, one of the oldest in the world. The Prime Minister was introduced to its rare manuscript collection, including Serbian texts connected to Saint Sava and his historical contributions to the monastery's legacy. At the end of the visit, Macut expressed deep admiration for the monastery's spiritual ambiance and its exceptional historical significance. He also praised Saint Catherine city for its unique religious and cultural appeal. read more Gold prices rise, 21 Karat at EGP 3685 NATO's Role in Israeli-Palestinian Conflict US Expresses 'Strong Opposition' to New Turkish Military Operation in Syria Shoukry Meets Director-General of FAO Lavrov: confrontation bet. nuclear powers must be avoided News Iran Summons French Ambassador over Foreign Minister Remarks News Aboul Gheit Condemns Israeli Escalation in West Bank News Greek PM: Athens Plays Key Role in Improving Energy Security in Region News One Person Injured in Explosion at Ukrainian Embassy in Madrid News China Launches Largest Ever Aircraft Carrier Sports Former Al Zamalek Player Ibrahim Shika Passes away after Long Battle with Cancer Lifestyle Get to Know 2025 Eid Al Adha Prayer Times in Egypt Business Fear & Greed Index Plummets to Lowest Level Ever Recorded amid Global Trade War Arts & Culture Zahi Hawass: Claims of Columns Beneath the Pyramid of Khafre Are Lies News Flights suspended at Port Sudan Airport after Drone Attacks Videos & Features Video: Trending Lifestyle TikToker Valeria Márquez Shot Dead during Live Stream News Shell Unveils Cost-Cutting, LNG Growth Plan Technology 50-Year Soviet Spacecraft 'Kosmos 482' Crashes into Indian Ocean News 3 Killed in Shooting Attack in Thailand
Watani
3 days ago
- General
- Watani
Coptic Diocese of The Netherlands marks 12th anniversary
To commemorate the 12th anniversary of the establishment of the Coptic Diocese of the Netherlands and the ordination of its Bishop, Anba Arseny, a celebration was held on 15 June at the Coptic Church of St Mary and St Verena Coptic Church in Bussum. The celebration started with started with Mass, presided over by Anba Arseny. Attending were a number of priests and a large Coptic congregation from The Netherlands. Bishop Arseny gave a word which he titled: 'We rejoice in God's Work.' Following Mass, the priests delivered congratulatory speeches during which the glorified God's work in the Diocese over the past years. The ceremony included choir performances by various age groups from the Diocese churches, who presented a variety of traditional hymns and performances, accompanied by the orchestra conducted by Loris Maher. The celebration was attended by the city Mayor Han ter Heegde. Comments comments Tags: Coptic Diocese of The NetherlandsNevine Gadallah
See - Sada Elbalad
15-06-2025
- General
- See - Sada Elbalad
Discover the Artifacts Selected for June in Egypt's Archaeological Museums
Ali abo deshish As part of the monthly tradition across the museums nationwide, the artifacts selected for June have been announced. This selection was made through a public poll via the museums' social media pages to raise cultural awareness and promote the significance of Egypt's heritage. This month, the audience chose artifacts that highlight several events celebrated during June. One of the key occasions is the anniversary of the Holy Family's entry into Egypt. Additionally, many museums are showcasing archival photographs from their collections in line with the celebration of International Archives Day, emphasizing the role of museums in preserving the nation's memory and cultural heritage. Some museums are also presenting unique pieces that showcase the significance of musical instruments throughout Egyptian history, in conjunction with World Music Day, which is celebrated on June 21st each year. The full list of June's selected artifacts is as follows: Coptic Museum (Old Cairo): A bronze censer featuring inscriptions depicting events from the life of Jesus Christ, including His arrival in Egypt. Cairo International Airport Museum: A copper and zinc cross. Kafr El-Sheikh Museum: A piece of wool and linen representing the journey of the Holy Family to Egypt. Luxor Museum of Ancient Egyptian Art: The upper part of an altar made of limestone from the Coptic era, discovered in 1958 in the first courtyard of the Luxor Temple. Islamic Art Museum: An archival photo from the museum showcasing the celebrations of the 'Mahmal' (the sacred ritual of the pilgrimage). National Police Museum: An archival photograph depicting Egyptian media coverage of the Egyptian police's role in defending the country. Ismailia Museum: The handwritten records of French archaeologist Jean Cleida documenting the artifacts of the Ismailia Museum. Royal Jewelry Museum: Archival photographs from the personal album of noblewoman Fatima Haidar (owner of the palace), showing her daughter standing in the palace garden. Nubian Museum: An archival photograph of the Philae Temple before and after its preservation. Cairo International Airport Museum: A bronze rattle of the goddess Hathor, representing her face with a headdress and necklace, with a cobra on either side of her head carrying the Egyptian crown. Manial Palace Museum: A wooden piano with brass inlays, featuring lapis lazuli and marble, from the opulent 'Obisone' hall in the palace. Royal Carriages Museum: A music box made of wood, belonging to Princess Fawzia. It contains six cylinders, each with a unique tune, and is accompanied by a wooden table with a drawer to store the cylinders. Gayer-Anderson Museum: A drum with a skin membrane, made of wood inlaid with ebony and ivory. Farouk's Pavilion Museum: A gramophone with a wooden face designed as a temple facade, with columns and a royal cartouche bearing King Farouk's name in hieroglyphics. The gramophone cover is engraved with images of musicians and dancers, with a side drawer for storing records. Imhotep Museum: Part of a harp instrument, with a column containing a vertical row of holes where small wooden cylindrical pieces are placed to anchor the harp strings. Tell Basta Museum: A bronze statue of the goddess Bastet holding sistrum, a musical instrument often associated with Hathor. Suez National Museum: A flute with five finger holes. Alexandria National Museum: A collection of terracotta statues from Alexandria cemeteries, including a statue of a woman playing a harp. Hurghada Museum: A wooden 'Rebab' (a traditional stringed musical instrument) shaped like a tree trunk. Sharm El-Sheikh Museum: A bronze rattle of Hathor, with its handle designed as a miniature Sphinx and a depiction of Hathor and the goddess Bes from the Greco-Roman period. Sohag National Museum: A pair of ivory clappers in the shape of human hands, decorated with intricate designs, used for clapping, from the Middle Kingdom. Matruh Museum: A limestone relief depicting the god Bes, the god of music and dance, holding a sword and dancing, alongside a woman with a rattle and tambourine. Malawi Museum: A terracotta statue showing the upper half of a person beside a musical god, with fingers positioned to play the instrument, from the Greco-Roman period. 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