Date: Fri, 9 October 92 10:08:30 -0700 Subject: Copt-Net Newsletter: Issue #2 ------------------------------------------------------------------------------- ___ ___ /___\ ___ IHC | | nXC ______| |______ /______| |______\ | _|_ | |______ | ______| | | ______ ______ ______ | | __ _____ _______ /_____/\ /_____/\ /_____/\ | | /\_\___ /\____\ /\______\ \ ___\/ \ __ \ \ \ __ \ \ | | / / /___\ / / ___/ \/__ __/ _\ \ \_____\ \ \ \ \_\ \_\ \ \___| |____/ / ___ /_/ / /_\___ / / / / \ \ \____ \ \ \ \ \ \ ___\/ | | / / // / / / / ___/ / / /\ / \ \/___/\ \ \_\ \ \ \ \ \ | | / / // / / / / /_\ / / / \ / \_____\/ \_____\/ \_\/ | | \/_/ \/_/ \/____/ \/_/ \ / \ /____________________________________________________________________________\ \ / \ An electronic newsletter about the Coptic Orthodox Church / \ / \ "Blessed is Egypt My people" / \____________________________________________________________________/ ------------------------------------------------------------------------------- Table of Contents ----------------- 1. Coptic Art 2. Al-Muharraq Monastery 3. Saint Maurice And The Theban Legion 4. Anba Abraam, the friend of the poor (part 2) ------------------------------------------------------------------------------- _ ( ) --+-- | A | W AN INTRODUCTION TO THE COPTIC ART OF EGYPT Introduction ------------ Coptic art, the distinctive Christian art of Egypt, includes works of a diverse character because there was no separation between ``art'' and ``craft'' in the early Christian era; the capital of a column or an illustrated manuscript were as much forms of creative expression as paintings and sculpture. From burial grounds, there are objects like funerary stelae, or tombstones, cartonnage sarcophagi and fragments of woven textiles from clothing in which the deceased were laid to rest. Monastic centers, churches and shrines provide stone and wood-carvings, metalwork, wall and panel-paintings, as well as a wealth of utilitarian objects like ivory combs, wooden seals for impressing sacred bread, pottery and glassware. Early sources of influence -------------------------- The Coptic art -- like any other form of artistic expression -- was influenced by two main sources: the classical (Hellenic) world and the ancient Egyptian world. Objects made in Greek style, or under the direct influence of classical art, include stone carvings of winged victories or cupids bearing garlands, the vine branches of Bacchus, Aphrodite, Leda, and Hercules. Monuments of mixed Greek-Egyptian character are relief slabs that were probably used as wall decorations in churches; they frequently feature pilasters surmounted by stylized Corinthian capitals, sphinxes or fish -- the earliest symbol of Christianity. Ancient Egyptian influence is best seen in funerary stelae, which have survived in large number throughout Egypt. They are either square or rectangular in shape and are sometimes curved at the top, or have a triangular pediment. Many have a tiny square cavity, which penetrated to the back of the stela. Such cavities were common in Ancient Egyptian cemeteries (incense was burned in them in the belief that the spirit of the dead would enjoy its perfume). In the early Christian era stelae came from pagan and Christian burial grounds, and were usually inscribed with the name of the deceased, details of his/her life or titles, and the day of his/her death, written in the Greek language or the Coptic language (the last stage of the Egyptian language). The carvings on them included Greek-Egyptian motifs: a figure, often robed like an aristocratic Greek reclining on a bed and holding a drinking vessel or grapes, for example, might be flanked by the jackal-god Anubis and the hawk-heated Horus. The persistence of ancient Egyptian symbolism in early Christian art is pretty much accepted among biblical historians. It is both easy and natural to recognize evidence of that influence in early Christian art. For example, it is accepted that the ansate cross, the ``ankh'' or Hieroglyphic sign for the word ``life'', was intentionally adopted by early Christians. In fact, many relief slabs show both the ``ankh'' and the Christian ``cross'' together, frequently flanked by the first and last letters of the Greek alphabet, the Alpha (A) and the Omega (W), in an early form of what was to become the monogram of Jesus Christ the Lord for, in Revelation 1:8, He said: ``I am the Alpha and the Omega, the Beginning and the End.'' Other examples of Egyptian symbolism in early Christian art are the Holy Spirit in the early church shown descending in the form of a winged bird, like the soul of the deceased, the "ba", in ancient Egypt; the archangel Michael weighing souls in the balance, which is akin to the ancient Egyptian god of wisdom, Thoth, weighing the heart of the deceased in the scales of justice; the portrayal of Christ triumphant over noxious beasts is evidently derived from that of Horus upon the crocodiles, as shown on the famous Metternich stela. And Saint George and the dragon also call to mind the god Horus depicted spearing Set, often portrayed as an evil serpent. In addition to the classical, Egyptian and Greek-Egyptian heritages in Coptic art, there are also Persian, Byzantine and Syrian influences. Egyptian master weavers and artists were attracted to Persia in the third century with the rise of the Sassanian kingdom before the founding of Constantinople. When they returned to Egypt, a new Persian repertory of themes like opposing horsemen or two facing peacocks drinking out of the same vessel, was introduced to Egypt. Borrowing from one culture to another is a natural process of cultural growth. In the fourth century, when Christianity made a triumphal entry into the Roman world the art forms of ascendant Byzantium spread to Egypt, and continued even after the Coptic Church broke away from the Eastern Roman Church because Egypt remained, politically, a part of the Roman Empire. The Copts, however, began to turn increasingly towards the Holy Land, the birthplace of the Lord Jesus Christ; Syrian influence on Coptic art became apparent in the fifth century. And, rigidity came with it. Some motifs that made their way to Egypt from Syria were ultimately of Persian origin, including animals and birds in roundels, and griffins. The integration of contrasting configurations -- classical, Egyptian, Greek-Egyptian and Persian pagan motifs, as well as Byzantine and Syrian Christian influence -- led to a trend in Coptic art that is difficult to define, because a unity of style is not possible to trace. Unfortunately, early collections of Christian art were made without recording details of the sites from which they came, making it virtually impossible to trace artistic development through time. There is no way to tell, for example, how long classical and Greek-Egyptian motifs continued after the adoption of Christianity as the state religion of the Roman Empire. All that can be said is that Coptic art is a distinctive art, and that it differed from that of Antioch, Constantinople and Rome. Evolution of Coptic Art ----------------------- Efforts have been made to classify Coptic art into epochs but this is somewhat artificial. While every culture has phases of cultural production, this is visible only when seen from an historical vantage. E. R. Dodds in his book (Pagan and Christian in an Age of Anxiety) comments on this by saying: ``The practice of chopping history into convenient lengths and calling them "periods" or "ages" has [...] drawbacks. Strictly speaking, there are no periods in history, only in historians' analyses; actual history is a smoothly flowing continuum, a day following a day''. This is true of art in general and Coptic art in particular. Day by day, through the centuries of Ptolemaic rule, while the Greek culture became inextricable from the ancient Egyptian, a national heritage still remained. This apparent contradiction is best exemplified by referring to the literature of the Late Period, in which such syncretismic compilations as the Hermetic texts developed alongside a more or less consistent pattern of thought and behavior, as exemplified in the Instruction literature. In art, the diverse influences resulted in an admixture of motifs. Yet, despite this, distinctive ``Egyptian'' traits set Coptic art apart from any other. The influence of the different powers on the development of Coptic art can be clearly seen by examining the famous monasteries of Wadi ElNatroun. During the fourth and fifth centuries, these monasteries were affected by factional disputes between the Melkites and Coptic monks. The Melkites remained in control until the Arab conquest when the Copts took over the area again. Then, in the eighth century one of the monasteries was purchased and restored by a Syrian. There were serious Bedouin raids from the eighth to the eleventh centuries. An essential part of any Monastery is a large stone ``fortress'', where monks would hide in the event of a Bedouin raid. While ``portable'' precious artwork was easy to hide in these fortresses, a great deal of damage was done to the ancient churches and buildings of the Monasteries. In these raids, the Bedouins would rob the monasteries of treasures and staples, often killing any monks who would not have made it to the fortresses, and sometime burning most of the churches and buildings, along with whatever artwork, books, and records in there. The Coptic monasteries in Wadi ElNatroun were restored in Fatimid times, during the eleventh and twelfth centuries, and the Fatimids themselves used local craftsmen, who were mostly Copts, for enlarging and embellishing the city of Cairo; when Copts executed designs and motifs that were acceptable to their Arab patrons, they did this as competently as they had, in classical times, produced classical themes for their Greek patrons. In each case they adopted some of the motifs or designs for their own use. therefore, when one visits the monasteries of Wadi ElNatroun, it must be borne in mind that some wall-paintings were produced under the instructions of Melkites monks, others under the instructions of Coptic monks. Also, Alexandrine, Byzantine and Syrian-inspired art were produced there, as well as non-figurative metalwork, wooden sanctuary screens, cabinets and furniture, inspired by Persian art. Craftsmanship ------------- In studying the objects in the Coptic Museum of Cairo and in various Coptic Museums all over the world, as well as in the various monastic centers, it becomes clear that some sophisticated work must have been produced by highly talented craftsmen. At the same time, though, other work is characterized by folk simplicity. This can be seen in ivory work, tapestries, paintings and architectural decorations. There is a convincing explanation for this discrepancy in sophistication. Egypt had a long tradition of master craftsmen of different trades who, throughout ancient history, worked under the direction of a supervisor who was a highly professional man: sometimes a High Priest (as in the Old Kingdom) or an Overseer of All the Works of the King (New Kingdom). The supervisor could recognize inferior workmanship, correct drawings and generally maintain the required standard, whatever that happened to be during different periods. If there were changes in the theme or style, this could only be brought about by the master craftsman who was empowered to execute the change. Naturally such a man had an experience in handling large groups of men. Throughout the period of Roman rule of Egypt there was a tendency for such master craftsmen to move around the Roman empire, gravitating towards the centers that could pay for their professional services. They worked in Alexandria and summoned by the emperors to Rome and Constantinople. There they sculpted classically draped forms as competently as they had the stylized Egyptian, and they carved languid reclining figures with no less devotion. Scholars are not in agreement over which works of art can be safely regarded as Alexandrine -- that is to say, executed by Egyptian craftsmen in Alexandria. Many such works, however, can be safely attributed to Egypt through consideration of subject matter and/or style. Examples of such works include a casket now in the museum in Wiesbaden that is sculpted with a sphinx and the allegory of Father Nile, a small box in the British Museum showing the squat, typically Coptic figure of Saint Mena in a niche, and three plaques from the side of Maximian's throne at Ravenna Museum that have been attributed by art historians to Egyptian carvers. Also, when the Copts separated from the Eastern Church, master craftsmen who had mastered the technique of deeper drill carving and supervised the execution of works of great sophistication, ``vide'' the stucco wall decorations to be found in the Monastery of the Syrians at Wadi ElNatroun and the friezes from Bawit in the Coptic Museum of Cairo. Meanwhile, however, monasteries and churches that were built in Upper Egypt, especially in the fifth and sixth centuries, were adorned with carvings and paintings that show an expression of faith that was highly personal and authentic, executed by craftsmen who were not controlled by either the rulings of ``religious authorities'' (as was the case in ancient Egypt), or by a supervisor who maintained standards. There are stone and wood friezes, painted panels and ivory work that is crude and that depends for its appeal largely on qualities of design. This is especially apparent in the representations of the human figure, which are of strange proportion, being somewhat squat with large heads. Several explanations for this have been made. The most convincing of these explanations suggests that Coptic artists were producing work in reaction to the realism of ancient Egyptian and Greek paganism and that this, too, is the reason why early Christians did not encourage the production of statuary in the round. While the tendency seems, indeed, to have been a departure from Hellenistic Alexandrine tradition, towards an abstract two-dimensional style, this may not necessarily have been calculated. Rather, it may be an example of free artistic expression: naive, unsophisticated, yet forceful. It is the simplicity of Coptic Art that gives it its unique flavor. There are two art forms in which continuity of craftsmanship can be traced, namely the techniques of weaving and illustration. That is to say, Coptic textiles and manuscripts. While the motifs in the former, and the calligraphy in the latter, changed from age to age, the artistic execution of the work, as well as the techniques and the materials used, was of longstanding tradition. Weaving ------- Weaving in the early Christian era was, as in earlier times, mainly on linen although there is also some evidence of silk-weaving. the techniques -- the so-called tapestry-weave and loom weaving -- were inherited from the ancient Egyptians. The width of the loom used in Coptic tapestries is the same as that in the time of the Pharaohs, and the special ``Egyptian knot'' was used as well. in the fourth century wool was introduced and a variant was loop-weaving, in which the waft was not pulled tight. Silk became popular in the sixth century and by the eighth century full clerical tunics were woven in linen and silk. The weaving of some are so fine as to appear more like embroidery. Coptic textiles, which developed into one of the finest of all Coptic arts, included wall hangings, blankets and curtains in addition to garment trimmings. The motifs show great diversity and include classical and Greek-Egyptian themes: lively cupids, dancing girls riding marine monsters, or birds and animals woven into foliage. Fish and grapes were popular Christian motifs as well as biblical scenes such as the Virgin on a donkey holding the Child Jesus in front of her. After Constantinople became the capital of the empire, the weavers' repertoire was increased and enriched with Byzantine and Persian themes. All the textiles show a great sense of liveliness in the stylized figures, and there was an eager market throughout the Roman world in late antiquity, especially for trimmings for clerical robes; the most commonly woven were tunics of undyed linen onto which decorative woven bands were worked. In the tenth century, after the Arab conquest, Copts wove textiles for Muslim patrons and the Arab ``Kufie'' script was introduced into their own designs, especially after Arabic started to replace the Coptic language one century later. Illustration ------------ Coptic manuscripts fall into five main groups: in Greek, Greek and Coptic, in Coptic, Coptic and Arabic and, finally in Arabic and transliterated Coptic. The art of illustrating texts dates to Pharaonic times when prayers and liturgies were written on papyrus paper with reed pens and deposited in the tomb of the deceased. The mortuary texts were traced in black outline with catchwords written in red. They were illustrated with figures of Egyptian deities and protective symbols. These vignettes were frequently painted in bright colors with border designs at the top and bottom. In the Christian era, religious writings were also written on papyrus paper and parchment. The texts were written in black, with red used for titles and the beginnings of the chapters. Many were decorated with designs in bright colors including figures of Martyrs, Saints, Apostles, and Angels, as well as birds, animals, foliage and geometrical designs. A medieval Arab writer, Omar Tussun, wrote about a group of copyists at the Monastery of Saint Makar in Wadi ElNatroun, who were capable of drawing Coptic letters in the form of birds and figures. This is still an art form in Egypt, and Arabic calligraphers still use the reed pen -- an art that they inherited from their Coptic ancestors. Copts started to translate their religious literature into Arabic late in the twelfth century and decorated the opening page with lavish pictures and with border designs. It was not until the nineteenth century that Coptic texts transliterated using Arabic started to appear. Portraits --------- No other early Christian movement has such an abundance of paintings of persons who received honor in their own country. Egypt's martyrs, saints, patriarchs, hermits and ascetics, some of whom were honored throughout Christian world, received special distinction in Egypt. Their heroic deeds, sufferings or miracles were worded in songs and pictured on the walls of ancient temples that were converted to chapels or churches. The human figures, whether in paintings, carvings or tapestries, are in frontal position with serene faces and a depth of idealized expression. The outlined, almond-shaped eyes are strongly reminiscent of the painted wooden panels from Bawit and the Fayoum, dating back to the first and second centuries, which were placed over the head of the deceased and bound into the mummy wrappings. These panels themselves resemble ``cartonnage'' sarcophagi of the late Pharaonic period. In fact, the Fayoum portraits, with the full face and large obsessive eyes -- a feature of Roman medallions and much early Christian art -- are now regarded by art historians as the prototypes for the Byzantine icons. The Lord Jesus Christ was usually shown enthroned, surrounded by triumphant Saints and Angels, or blessing a figure beside Him. He was always depicted as King, never the suffering servant. Egypt was a land where leadership was idealized and kingship, both on earth and in the afterlife, was something the people understood. A triumphant Jesus -- reborn, benevolent and righteous -- is one of the most significant and continuous characteristics of Coptic art. Another is that Egyptians did not delight in painting scenes of torture, death, or sinners in hell; in the few exceptions where a holy figure is painted undergoing torture, it is implied rather than graphically depicted. This is in tune with ancient Egyptian artistic tradition which, in the words of Cyril Aldred (in his book Egyptian Art in the Days of the Pharaohs, Thames and Hudson, 1980) ``magnify only the heroic and beneficent qualities of divinities and kings, and not the horrific power of tyrants and demons''. Paintings --------- It is fitting to conclude this list of art forms with Coptic paintings, which is true art as against what we today call the crafts. The wall paintings reveal an unsophisticated, almost crude style, and a refined, highly developed one. The former may have emerged in the early years of Christianity when ancient temples were converted into churches. Pharaonic reliefs were covered with layers of plaster and Christian themes were painted on the stucco base. These wall-paintings survive ``in situ'' in some places in Egypt including Bagawat in the Kharga Oasis, Saint Simeon's Monastery at Aswan, in the temple of Luxor, the White Monastery at Sohag, the Monastery of Saint Makar in Wadi ElNatroun, and the sanctuary of the Ethiopian Saint Takla Hemanout in the Church of AlMoallaka in Old Cairo. Early wall-paintings that have been transfered to the Coptic Museum include niches from the Monasteries of Bawit and Sakkara. the Copts loved bright, clear color and were extremely talented in mixing different dyes and powdered rock, often using the white of an egg to combine them. Icons, or images of sacred personalities painted on wooden panels, that are themselves regarded as sacred, were a later development. When it was realized that the war on paganism launched by the emperor Theodosius had not stopped pious people from sanctifying holy relics, the church authorized the painting of religious themes that would aid the faithful in an understanding of Christianity, especially scenes depicting the Nativity, the Virgin and Child, the apostles and the lives of the saints. According to the Arab historian AlMakrizi, the Pope Cyril I hung icons in all the churches of Alexandria in the year 420 A.D. and then decreed that they should be hung in the other churches of Egypt as well. In the earliest development of icon painting the artists worked directly on the wooden panel but later they began to cover the surface with a soft layer of gypsum onto which lines could be chiseled to control the flow of liquid gold. There is indication that more than one artist was involved in the production of a single work but the face was painted by the master. Such division of labor resulted in greater production, but it also brought an end to any personal expression of piety such as had characterized the wall paintings. When Egypt turned increasingly towards Syria and Palestine after the schism in the fifth century, her saints and martyrs began to take on the stiff, majestic look of Syrian art. There began to be an expression of spirituality rather than naivity on the faces of the subjects, more elegance in the drawing of the figures, more use of gold backgrounds and richly adorned clerical garments. Painters were not, at first, constrained by a rigid code. They were free to experiment with their themes. Consequently, there is a variety of interpretations in the treatment of a single subject that is quite striking. By the fifth and sixth centuries the angel Gabriel, for example, was sometimes painted with a sword, another time with a cross, and on occasion, with a trumpet; he either wore a flowing robe or was clad in richly embroidered vestments. Such variations are especially notable in scenes of the Annunciation and the Nativity, which are seldom rendered twice with the same details. Paintings produced in Egypt under Byzantine rule did not resemble the opulent frescoes and mosaics of the eastern Roman Empire, which was state-sponsored art between 550 A.D. and the conquest of the Turks in the fifteenth century. Saint Catherine's Monastery in Sinai, however, a stronghold of the Melkite faction, was rebuilt in the Golden Age of Justinian and adorned with some of the finest Byzantine icons to be found in the world. Some were painted on site, and others were imported from the provinces of the empire and from Constantinople itself. Few centuries after the Arab conquest of Egypt in the seventh century paintings became successively less ``Coptic'' in character. This became even more apparent in the thirteenth century when the art of copying panels and miniatures started and Anba Gabriel produced exquisite and brilliantly adorned work. He set a standard for copyists. Little original work was produced. By the seventeenth and eighteenth centuries painters like John ElNassikh, Baghdady Abu ElSaad, and John the Armenian -- who are among the greatest painters of icons in Egypt -- turned to Syrian and Byzantine models for inspiration. Finally, Anastasy, a Greek artist, was commissioned by the Copts to paint many of the icons that today hang in the churches of Old Cairo. Coptic Art History ------------------ The study of Coptic art and architecture was for too long a sadly neglected field. One of the reasons for this is that early archeologists showed no interest in Christian antiquities. They focussed their attention on Ancient Egypt. For example, it is astonishing to us today to note that Champollion, the French scholar who deciphered Hieroglyphics from the famous Rosetta Stone, carried out excavations at Medinet Habu on the Theban necropolis, discovered a fine fifth century church there and did not even mention it in his official report. In places where ancient Egyptian temples had been converted into churches and the walls plastered and painted with Christian themes, these were removed as just so much debris obscuring the ancient Egyptian reliefs below. No effort was made to photograph the wall-paintings before removal, or record any architectural features. Vital evidence was consequently lost from numerous temples including Deir el Bahri, Medinet Habu and Karnak temples at Luxor, and those of Dendera and Edfu. The first person to realize the value of the Coptic art and make an effort to preserve it was the French scholar Gaston Maspero. In 1881, in his capacity as director of the Egyptian Antiquities Service (now Antiquities Organization) he set aside one of the halls of the Museum of Antiquities, then in the suburb of Boulac, for the first collection of Coptic art. He encouraged Egyptologists to undertake serious excavation, resulting in the preservation of the remains of the Monastery of Saint Apollo in Bawit, about 10 miles south-west of Assuit in Middle Egypt, and the Monastery of Saint Jeremias on the Sakkara plateau. Several scholars published descriptions of Coptic churches, carvings and crafts. In 1910 the Coptic Museum was founded and in 1937 a new wing was added. The exhibits, which represent the richest collection of Coptic art in the world, have been separated according to media: stonework, woodwork, metalwork, ivory carvings, tapestries, pottery, glassware and manuscripts. It is extremely difficult to visualize them in context when one visits the museum. For example, patriarchal chairs in woodwork in the old wing are separated from patriarchal crowns and ecclesiastical vestments that are in the new. Wooden doors of ancient churches and monasteries are separated from their metal bolts and keys. Similar themes in different mediums, like the portrayal of the Virgin and Child, or the use of vine as a decorative motif in stone carvings, wooden panels and tapestries, cannot be compared. And wide variations in style that developed in different localities cannot be observed. Compounding the problem is the fact that the objects span fifteen hundred years, from the fourth to the nineteenth centuries! Nor do the monastic centers and old churches of Egypt facilitate an understanding of artistic development because of the continuous stages of construction and renovation of the churches. This is mainly attributed to the fact that these sites are still used heavily by Copts for religious functions as a result of a 20-year Governmental policy of not granting Copts permits to build new churches or Coptic centers. Today, within the limited resources ]available to them, Coptic Christians are trying their best to preserve their treasures. A good example is the Monastery of Anba Makar in Wadi ElNatroun, which (unlike other poorly and unprofessionally restored monasteries) was miraculously dug out of the sand of the Western Desert! Thanks to the efforts and hard work of its monks, the monastery of Anba Makar still possesses the largest doom in Egypt, built completely using self-supporting woven small red bricks. Restoration of Coptic Heritage ------------------------------ Only a decade ago, French and Dutch archeologists were among the few foreign experts who began restoring and preserving Coptic monuments. Before this, in view of the inaction and limited resources of Governmental agencies, Coptic monks alone used to fix haphazardly crumbling parts of their churches and monasteries. Many medieval Coptic churches are still in a miserable state of repair. Their facades are crumbling to dust and richly decorated walls inside have been damaged by incense-burning rituals over the centuries that required closed doors and windows. In addition, vacant monasteries have often been inhabited by nomads, shepherds and their herds. Several international organizations have recently extended a helping hand to the Copts in order to self-preserve and record their heritage. For example, in August of 1991, the Dutch Ministry of Education has proposed a program whereby Dutch scholars will train Coptic monks in such fields as art history, scientific methods of preservation and care of Coptic monuments, usage of index systems and collecting data. In the summer of 1990, a group of three Coptic monks spent six months last year in the Netherlands for training in the history of Christian art and its preservation, and traveled to other European countries where they became acquainted with different Christian congregations. There are many efforts to record and learn about Coptic art. In the Cairo-based Institute of Coptic Studies, for example, students learn about Coptic Icons by painting their own reproductions using authentic dyes mixed with special oils and egg white. Even outside Egypt, in the United States, two Coptic artists in residence in the Church of St. Mary and St. Mena in Rhode Island, produce dozens of Coptic icons to embellish Churches and homes of Emigrant Copts. Much more work remains to be done to save an integral part of Egypt's history, culture, and art. This can be only done through a concerted effort by the Egyptian people with the help of national and international agencies. The first step is, perhaps, a better education, understanding, and appreciation of Coptic art among the public. ------------------------------------------------------------------------------- _|_ _|_ _|_ _|_ _|_ _|_ _|_ _|_ _|_ _|_ _|_ _|_ _|_ _|_ _|_ | | | | | | | | | | | | | | | ---------------------------------------|--------------------------------------- AL-MUHARRAQ MONASTERY 1. Introduction: ---------------- According to the tradition of the Coptic Orthodox Church,the site of al-Muharraq Monastery lies in the middle of the land of Egypt, fulfilling the prophecy of the prophet Isaiah, (Isaiah 19:19) : "In that day there will be an altar to the Lord in the midst of the land of Egypt, .." Also, this monastery was one of the sites were the Holy Family rested in during their visit to our beloved country, Egypt. The details of the Holy Journey to Egypt, are recorded in the surefire tradition of the Coptic Church, specially the most important manuscript Patriarch Theophilus, the 23rd Patriarch of Alexandria (385-412 A.D.). According to these traditions, the Holy Family arrived at the foot of Qousqam Mountain in Upper Egypt where al-Muharraq Monastery stands today. The Holy Family is said to have remained in this location for about six months and few days. 2. The site of the Monastery: ----------------------------- It lies at the foot of the western Qousqam mountain at the end of an 11 km road branching from the Cairo - Aswan Highway at Al-Qoussieh city, in Assuit Governorate ( Al-Qoussieh is about 331 km south of Cairo ). The Monastery lies at the border line between the green lands and the western desert. The green lands extend to the north and east sides of the monastery. The western desert is adjacent to the west of the monastery, where the western mountain and numerous sand hills are widespread beyond the site. These are what the Coptic monks call the "inner wilderness" (or elbarreya elgowaneya). Qousqam was a small Coptic old town demolished a long time ago. The word "Qousqam" means "the tomb of halpha" (halpha is a desert weed). This is because the poor inhabitants used to shroud their dead by halpha. Al-Muharraq is an Arabic name which means "burnt". Indeed during the history of this Monastery, it was burnt 3 times at the hands of the fraud invaders. 3. The Monastery Today: ----------------------- The Coptic Church is paying a lot of attention to this holy piece of land and heritage. Under the current Bishop of the Monastery, Bishop Severus, new buildings and reconstructions were done. An area of land of seven acres was added to the monastery. The monastery was surrounded with new walls. Inside the area, a new guest house was built in 1986. 4. Saints Anba Abraam of Fayoum (1829-1914) and Michael El-Bohairy the Hegomen (1847-1923) : --------------------------------------------------- St. Abraam the Bishop of Fayoum was from this monastery. He came to the monastery in 1847 and became a monk under the name "Boulos Eldelgawy". He was also the father of confession and the spiritual advisor for many monks of this monastery. In the time of Patriarch Cyril V, the 112th Pope of Alexandria, he became the Bishop of Fayoum and Giza in 1881 till 1914, where he is currently buried in "Deir Elazab" near the city of Fayoum. Another saint of this monastery is St. Michael El-Bohairy the Hegomen. He is a saint of the 19th century from this monastery. He became a monk in 1867 and then a priest in 1874. He was the disciple of St. Abraam, the Bishop of Fayoum. 5. The Qousqam Visitation: -------------------------- The mount of Qousqam was the last location in Egypt visited by the Holy Family, where they remained there for six months and few days, then they left for the Holy Lands again. In this place, Joseph the Pious built a small house there, from palms and ropes. The adjacent water well was blessed by the Lord before leaving. An ancient stone having a Hebrew script about the visit of the Holy Family to the site of the monastery is preserved in the monastery. 6. The Monastery Churches: -------------------------- The Monastery of Al-Muharraq contains four churches which are : 1. The ancient Church of the Holy Virgin Mary (2nd century). (The monastery itself dates to the 4th century). 2. The Church of Michael the Archangel (renewed in the 16th century) 3. The Church of St. George (19th century) 4. The New Church of the Holy Virgin Mary (1964). The monastery has also an old keep tower from the 5th century. Source: The Coptic Orthodox Monastery of the Holy Virgin St. Mary (Al-Muharraq), Assuit, Egypt, Pub. by Anba Rewiss Press. ------------------------------------------------------------------------------- _|_ _|_ _|_ _|_ _|_ _|_ _|_ _|_ _|_ _|_ _|_ _|_ _|_ _|_ _|_ | | | | | | | | | | | | | | | ---------------------------------------|--------------------------------------- SAINT MAURICE AND THE THEBAN LEGION A traveler on the highway that leads from Geneva to Rome, will notice a small and a very old Swiss town called "Saint Maurice". This town was known in the Roman times as "Aguanum", an important communication center. It was there that a Coptic officer named Maurice and 6600 of his fellow soldiers died for the sake of Christ at the hands of the impious Emperor Maximian (285-305 AD). The story of these martyrs, commonly known as the Theban Legion (Alkateeba alTeebia or Alkateeba al-sa'eedia) has been preserved for us by Saint Eucher, the bishop of Lyons, who died in 494 AD. The bishop starts the account of the martyrdom of these valiant soldiers by the following introduction: "Here is the story of the passion of the holly Martyrs who have made Aguanum illustrious with their blood. It is in honor of this heroic martyrdom that we narrate with our pen the order of events as it came to our ears. We often hear, do we not, a particular locality or city is held in high honor because of one single martyr who died there, and quite rightly, because in each case the saint gave his precious soul to the most high God. How much more should this sacred place, Aguanum, be reverenced, where so many thousands of martyrs have been slain, with the sword, for the sake of Christ." Under "Maximian", who was an Emperor of the Roman Commonwealth (Empire) with Diocletian as his colleague, an uprising of the Gauls known as "Bagaude" forced Maximian to march against them with an army of which one unit was the Theban Legion composed of 6600 men. This unit had been recruited from upper Egypt and consisted entirely of Christians. They were good men and soldiers who, even under arms, did not forget to render to God the things of God, and to Caesar the things of Caesar. After the revolt was quelled, the Emperor Maximian issued an order that the whole army should join offering sacrifices for the Roman gods for the success of their mission. The order included killing Christians (probably as a sacrifice to the Roman gods). Only the Theban Legion dared to refuse to comply with the orders. The legion withdrew itself, encamped near Aguanum and refused to comply with these orders. The legion withdrew itself, encamped near Aguanum and refused to take part in these rites. Maximian was then resting in a near-by place called Octudurum. When these news came to him , he repeatedly commanded them to obey his rules and orders, and upon their constant and unanimous refusal, he ordered that the legion should be "decimated". Accordingly, every tenth man was put to death. A second "decimation" was ordered unless the men obeyed the order given but their was a great shout through the legion camp: they all declared that they would never allow themselves to carry out such a sacrilegious order. They had always the horror of idolatry, they had been brought up as Christians and were instructed in the One Eternal God and were ready to suffer extreme penalties rather than do any thing contrary to their religion. When Maximian heard these news, he got angrier than ever. Like a savage beast, he ordered the second decimation to be carried out, intending that the remainder should be compelled to do what they hitherto refused. Yet they still maintained their resolve. After the second decimation, Maximian warned the remainder of the Theban legion that it was of no use for them to trust in their number, for if they persisted in their disobedience, not a man among them would be able to escape death. The greatest mainstay of their faith in this crisis was undoubtedly their captain Maurice, with his lieutenants Candid, the first commanding officer, and "Exuperius" the "Compidoctor". He fired the hearts of the soldiers with the fervor by his encouragement. Maurice, calling attention to the example of their faithful fellow soldiers, already martyrs, persuaded them all be be ready to die in their turn for the sake of their baptismal vow (The promise one makes at his baptismal to renounce satan and his abominable service and to worship only God). He reminded them of their comrades who had gone to heaven before them. At his words, a glorious eagerness for martyrdom burned in the hearts of those most blessed men. Fired thus by the lead of their officers, the Theban legion sent to Maximian (who was still enraged) a reply as loyal as it is brave: ``Emperor, we are your soldiers but also the soldiers of the true God. We owe you military service and obedience, but we cannot renounce Him who is our Creator and Master, and also yours even though you reject Him. In all things which are not against His law, we most willingly obey you, as we have done hitherto. We readily oppose your enemies whoever they are, but we cannot stain our hands with the blood of innocent people (Christians). We have taken an oath to God before we took one to you, you cannot place any confidence in our second oath if we violate the other (the first). You commanded us to execute Christians, behold we are such. We confess God the Father the creator of all things and His Son Jesus Christ, God. We have seen our comrades slain with the sword, we do not weep for them but rather rejoice at their honor. Neither this, nor any other provocation have tempted us to revolt. Behold, we have arms in our hands, but we do not resist, because we would rather die innocent than live by any sin.'' When Maximian heard this, he realized that these men were obstinately determined to remain in their Christian faith, and he despaired of being able to turn them from their constancy. He therefore decreed, in a final sentence, that they should be rounded up, and the slaughter completed. The troops sent to execute this order came to the blessed legion and drew their swords upon those holy men who, for love of life, did not refuse to die. They were all slain with the sword. They never resisted in any way. Putting aside their weapons, they offered their necks to the executioners. Neither their numbers nor the strength of arms tempted them to uphold the justice of their cause by force. They kept just one thing in their minds, that they were bearing witness to him who was lead to death without protest, and who, like a lamb, opened not his mouth; but that now, they them selves, sheep in the Lord's flock, were to be massacred as it by ravaging wolves. Thus, by the savage cruelty of this tyrant, that fellowship of the saints was perfected. For they despised things present in hope of things to come. So was slain that truly angelic legion of men who, we trust, now praise the Lord God of Hosts, together with the legions of Angels, in heaven forever. Not all the members of the legion were at Aguanum at the time of the massacre. Others were posted along the military highway linking Switzerland with Germany and Italy. These were progressively and methodically martyred wherever they were found. Some of the most celebrated saints who were martyred are: In Switzerland -------------- The following five Saints were martyred at Aguanum place (also this city is known now as Saint Maurice en Valais), along with the rest of their cohort.. - Saint Maurice - Saint Exuperius - Saint Candid - Saint Innocent - Saint Vitalis The following two Saints were found at Solothurn along with 66 others: - Saint Ursus - Saint Victor In Zurich, the following Saints were martyred: - Saint Felix - Saint Regula - Saint Exuperantius In Zurzach: - Saint Verena of Zurzach. In Italy: -------- The following saint was martyred in Bergamo: - Saint Alexander The following saints were martyred in Turino: - Saint Octavious - Saint Adventor - Saint Sotutor The following saint was martyred in Piacenza: - Saint Antonius of Piacenza The following saints were martyred in the Cottian Alps: - Saint Constantius - Saint Alverius - Saint Sabastianus - Saint Magius. The following saints were martyred in Pinerolo: - Saint Maurelius - Saint Georgius - Saint Tiberius The following saints were martyred in Milano: - Saint Maximius - Saint Cassius - Saint Secundus - Saint Severinus - Saint Licinius The following saint was martyred in Ventimilia among many others: - Saint Secundus of Ventimilia In Germany ---------- The following saints were martyred in Terier along with many others of their comrades: - Saint Tyrsus - Saint Palmatius - Saint Bonifatius The following two saints were martyred in Bonn among many others in their cohort: - Saint Cassius - Saint Florentius The following saint was martyred along with 318 others in Cologne: - Saint Gereon The following two saints were martyred along with 330 others in Xanten: - Saint Victor - Saint Mallosius During their martyrdom, numerous miracles happened, which undoubtedly largely contributed to the massive conversion of the inhabitants of these regions to Christianity. In Zurich for instance, the three beheaded saints Felix, Regula and Exuperantius miraculously rose, carried their heads on their own hands, walked to the top of a hill, where they knelt, prayed and at last lay down. On the same spot, a large cathedral was later erected. The three saints carrying their heads on their hands appear on the coat of arms and seal of Zurich until today. Saints Victor, Orsus and their comrades were barbarously tortured by Hirtacus, the Roman governor of Solothurn. During this torture, several miracles occurred, e.g. the shackles suddenly broke open, the fire was instantaneously extinguished, etc. The lookers-on were thus filled with wonder and began to admire the Theban legionnaires, upon which the furious Hirtacus ordered their immediate beheading. Without the slightest resistance they offered the executors their necks. The bodies of the beheaded Saints then shown in glaring brightness. The bodies of the Saints which were thrown in the river Aar, advanced the bank, stepped out, walked heads on hands, then knelt and prayed at the spot where the Basilica of St. Peter later arose. The bodies of the martyrs of Aguanum were discovered and identified by Saint Theodore the Bishop of Octudurum, who was in office at 350 AD. He built a Basilica in their honor at Aguanum, the remains of which are visible until now. This later became the center of a monastery built about the year 515 AD on the land donated by King Sigismund of Burgundy. Saint Eucher mentions that in his time (he died 494 AD), many came diverse provinces of the empire devoutly to honor these Saints, and to offer presents of gold, silver and other things. He mentions that many miracles were performed at their shrine such as casting out of devils and other kinds of healing "which the might of the lord works there everyday through the intercession of His saints." In the middle ages Saint Maurice was the patron saint of several of the Roman dynasties of Europe, and later on of the Holy Roman emperors. In 926, Henry I (919-936 AD), even ceded the present Swiss Canton (province) of Aargua in return of the lance of the saints. Some emperors were also anointed before the Altar of saint Maurice in saint Peter's Cathedral in Rome. The sword of Saint Maurice, was last used in the coronation of the Austrian Emperor Charles as King of Hungary in 1916. Kings, noblemen, and church leaders vied to obtain small portions of the relics of the saints in order to build churches in their honor. The famous King Charlemangne offered the monastery one of the treasured thorns that came from the crown of thorns of our Savior in return for a small portion of the sacred relics. He later built a church in honor of the martyrs inside the court of his palace. Saint Maurice has always been one of the most popular saints in Western Europe, with over 650 foundations in his name in France alone. Five cathedrals, innumerable churches, chapels and alters are consecrated in his name all over Europe. Aguanum (Saint Maurice en Valais) has always remained the main focus of veneration of the Thebans and a significant pilgrimage resort. In the monastery that bears his name there, the monks perform a special devotion to the saints every day, and celebrate their feast on September 22 of each year. An all night vigil, on the night before the feast is attended by nearly 1000 people. On the feast day, they carry in procession the relics of the martyrs in the ancient silver caskets. Over seventy towns bear the name of Saint Maurice. In the Monastery carrying his name in Switzerland, the vigil "Tasbeha" has been chanted continuously (24 hours a day) without stopping for more than 500 years now. Source: Saint Mary Coptic Orthodox Church, Cambridge, Ontario, Canada. ------------------------------------------------------------------------------- _|_ _|_ _|_ _|_ _|_ _|_ _|_ _|_ _|_ _|_ _|_ _|_ _|_ _|_ _|_ | | | | | | | | | | | | | | | ---------------------------------------|--------------------------------------- ANBA ABRAAM (1829-1914) The friend of the poor Whoever accepts our Lord Jesus Christ, who for our sake became poor so that by his poverty we might become rich, does not cease from groaning inwardly, longing to spend and be spent for very man, especially who are incapable of giving back what they receive. Those would be willing to bear the burdens of all people, walking in the way of Golgotha, following the steps of our Master, leaving everything behind, suffering for the sake of all men and singing, "I have been crucified with Christ". Our Father "ANBA ABRAAM" experienced practical fellowship with the Lord, so he loved the poor in a wonderful way. Whenever he went, he was surrounded by them, for in him they found their comfort and felt his loving fatherhood. Once, on an Easter night, his disciple told him that Hanna Bey Nakhla had sent various kinds of food and a turkey. The father blessed the sender, and with a gentle sweet smile asked his dispile to put the food on the tables, and call the poor people, the blind and the patients who were in the first floor of his home to come and eat. He stood watching his children and taking care of them as they were eating. Yet he ate only radishes and some butter milk. Once in an "AGHABI BANQUET", the cook made a table of fried fish for the rich, and another table of cooked fish for the poor. When the bishop entered to have dinner with them, he saw the two tables, and he firmly ordered the cook to mix the two kinds of fish. "Who wants to eat from the mixture, let him eat". God does not separate the poor from the rich, all are the same to Him". When the poor heard that, they rejoiced for his real fatherhood. The rich moved by his love for his children and his high spirituality and they also ate from the mixture. It was said that the Nobles of the Bishopric saw the Bishop's home not suitable. They agreed with their father to renew it. The collected L.E. 200, a valuable sum at that time, and brought it to him to make an appointment with a building contractor. The bishop looked at them saying "I have already built, my sons". "Where is the building, our father ?! There is no change at all !", they said. "I have built a house for you in the eternal life", he replied. One day a poor non-Christian citizen went to one of his rich relatives asking for a subsidy for his wife, who was about to give birth to their child, but he refused, and this sadly distressed the poor. The poor citizen vowed that he would ask the bishop himself. He went to "Anba Abraam" and related his story. The bishop said : "Is the bishop for the Christians only ?", then he gave him the only pound which was under the pillow. As the poor citizen was leaving, he met a monk who was surprised that his brother "The Bishop" had given the poor citizen all the money that he had, so he took the pound from him and gave him 20 cents instead. The citizen returned to the bishop and complained to him. The bishop called the the monk, took the pound from him, and gave it to the poor together with the 20 cents ... and angrily sent the monk away. After three days, the monk returned to ask for his forgiveness, which the bishop did grant. At that time, a letter arrived containing a money order and great offerings, then the bishop called the monk and said "See ..". The monk bowed before him modestly saying "I'm not like you .. Our Lord bestowed upon you the gift of offering". The bishop's contemporaries related that many persons were coming to Fayoum to bring gifts and offerings. The rich men were very generous in their offerings, but he never looked at the amounts, instead he put all the money and gold under the his pillow, so that when any person came to him asking for help, he would reach under the pillow, and give whatever he found. It's said that in his time, there was no poor in Fayoum, for they all found in the bishop's house their own home from which they could get what they needed. A well-known story is told about three young men who decided to make a plot to take advantage of the bishop's love of the poor. Two of them approached him saying that the third had died, and they had nothing to bury him. The bishop nodded his head, and gave them an offering saying, "Take this and bury him ..". They left laughing, but they got so astonished when they found that their friend had actually died. they tried to return the money asking the Bishop's pardon. He forgave them but did not accept the money, telling them to go and bury him. [to be continued ...] Source: Anba Abraam, the friend of the poor, St George Coptic Orthodox Church Sporting, Alexandria. ------------------------------------------------------------------------------- This Newsletter has been prepared by members of Copt-Net, a forum _|_ where news, activities, and services of the Coptic Orthodox Churches | and Coptic communities outside Egypt are coordinated and exchanged. | For any questions, or comments related to this Newsletter, as well as COP|NET any topics that you would like to be addressed in the next Newsletter please send a message to Copt-Net server at: cn-request@pharos.bu.edu ------------------------------------------------------------------------------