Reading Pauline Theology in Neo-Coptic Iconography:An examination of the Epistle to the Galatians

by

Margaret “Magi” J. Madsen-Hernandez

14 Feb 2014

kamaka@aol.com

margaret.madsen-hernandez@cgu.edu

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Introduction:

Like the spoken and written word, art communicates. Religious art communicates

religious ideas. Icons are art objects signified with the function of providing communication

between man and the Divine. Bishop Serapion, Bishop of the Coptic Orthodox Diocese of Los

Angeles, provided me with this definition of the icon.

“The icon, we call it windows to heaven. That is it [which] bring(s) us beyond what we see. [T]he icon is not just a picture or photo. It moves us out of now into God’s space where we see it [which] He knows for us.”1

Icons are a significant part of the Orthodox Christian traditions, most consider it to be a

holy text alongside the scared written word; both are believed to

radiate the divine.2 Icons stand on the threshold of the material

and spiritual realms. They inhabit the cusp where material and

spiritual realms intwine. Icons permeate all areas of Coptic

Orthodox religious observance and sink deep into the worshiper’s

lifestyle and culture. Venerating the icons allows the worshiper to

actively participate in the theological narratives they portray and

to personally engage with the holy energy contained in the

sanctified persons represented. Artist and iconographer in the

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1 “Bishop Serapion on Coptic Icons.” Personal interview. 15 July 2011

2 I.E. The Armenian and Coptic churches are both monophysite, sharing the basic creeds and beliefs. However, the Armenian church accepts icons as a part of its tradition they are not part of worship and are not venerated; while in the Coptic church icons are an integral part of liturgy, and venerating them is part of the worshiperʼs daily life . See Jirjis, Majdī. An Armenian Artist in Ottoman Cairo: Yuhanna Al-Armani and His Coptic Icons. Cairo: American University in Cairo Press, 2008. Print. p. 31

Image 1

Neo-Coptic style Stephane Rene says, “Icons are an integral part of Orthodox worship to inspire

and to teach the faithful the mysteries of the Christian faith through the medium of art.”3 This

suggests that the religious art of a group can also be examined to define, document, and interpret

doctrines and theologies contained in said group’s religiously framed social and cultural

traditions.

First, this paper will explain my approach for analyzing didactic religious art via the tools

of ‘visual language and grammar’ as a method of interpretive semiotics. Next is a brief review

the development of the Neo-Coptic art style by Dr. Isaac Fanous.

The main body of this paper will examine how themes of Pauline theology are

didactically expressed in the visual language and grammar of Neo-Coptic icons painted by Dr.

Fanous for the Coptic Diocese of Los Angeles, California, in the USA. `Except where noted all

icons referenced in this paper were painted by Fanous.

A corrective and admonishing epistle, Paul’s letter to the Galatians emphasizes

foundational principles central to the development of the early Jesus Movement such as

revelation, the law of the gospel, properly recognized authority, justification by faith and the role

of works, the moral laws of the gospel, and the sole dependance on Christ as the source of

salvation. The epistle of Galatians can be seen to follow the chiasmus poetry form, this literary

structure guides the choice of icons being examined and well as their theological readings. It will

be observed that the subject trends more towards apologetics then exegesis.

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3 Rene, Stephane. "Short Overview of Coptic Iconography through the Ages with Some Notes on Coptic Painting Technique”. N.p., n.d. Web. 21 June 2012

Visual Language and Grammar:

Visual language is a term often used to describe the production of art and design. It also

describes the function of esthetics and gestalt theory. The term ‘visual language’ can be

understood as the pictorial expression of the notion that the whole is greater then the sum of its

parts.

It is the use of graphic objects and elements which have been signified under a specific

system of interpretation to convey and reinforce known and intentional meaning-making

messages, in this case the doctrine, theology, and culture of the Orthodox Coptic Church. The

signification of objects in a visual language is explicitly designed to be syntactically and

semantically unambiguous. Visual language also includes gestures of meaning implicitly

understood by the shared common experience of the audience and relies heavily on context for

comprehension of the intended ideas. Visual language communicates encoded information in a

didactically holistic manner.

Visual grammar refers to the individual objects and elements in a visual language. As

objects of communication, individual graphic elements are signified under a pre-understood

contextual system of interpretation. Like letters of the alphabet, these objects and elements can

be combined in divergent and unique ways to convey a wide range of meanings.

Visual Theology:

As a grouping of coded symbols working to visually inform complex patterns of religious

discourse, the icon is visual theology. Imagination is the tool for decrypting and engaging in this

discourse. A specific imagination which has been inculcated to a specific context as the

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interpretive matrix is needed to decode religious art such. Visual theology then is “as important a

source for the study of theology as the texts which are usually considered.”4

The visual language and grammar employed in the visual theology of Orthodox Christian

icons is intended to communicate scriptural and church history narratives, church doctrine, and

theology. Neo-Coptic icons express sentiments discrete to the contemporary Coptic Orthodox

Church. (ex. image 1) The Egyptian settings of many of the icons, the manner in which the

figures are presented, the unique art style of Neo-Coptic together with the use of the icon in

worship and the relationships engendered between icons and individuals creates, as Peter Brown

says, “a useful way of talking about wider issues” 5 of human nature, culture, and social

relations.

While we will only be looking at a few Neo-Coptic Icons, it is important to keep in mind

that Coptic art and iconography encompasses a wide variety of contemporary and historical

objects of material culture belonging to the Coptic Orthodox Church - such as illuminated

manuscripts, wood work, and textiles.

Language and Grammar of Visual Theology:

When examining religious art, John Hinnell6 says,

“It must be held to be highly unlikely that any religion would incorporate ideas totally alien to its existing faith. Since a religion

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4 Antonova, Clemena, and Martin Kemp. Space, Time, and Presence in the Icon: Seeing the World with the Eyes of God. Farnham [u.a.: Ashgate, 2011. Print.. p. 136

5 Brown, Peter. The Body and Society: Men, Women, and Sexual Renunciation in Early Christianity. New York: Columbia University Press, 1988. Print. p. xxvii

6 Hinnells, John R. Zoroastrian and Parsi Studies: Selected Works of John R. Hinnells. Aldershot: Ashgate, 2000. Print. p. 45

is more open to influence from doctrines which bear some degree of similarity to the beliefs which it already holds one must begin by looking for a common stock of ideas on which branches might be grafted.” 7

For example, separated by over 30 centuries in time we see here four versions of the

battle of good over evil in the visual grammar of Pharaonic and Christian art. (images 2, 3, 4, 5)

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7 Hinnells, p. 46 - 47

image 2 image 3

image 4 image 5

Pharaonic magical texts describing the ritual of overthrowing Apep/Apophois, the representation

of evil/chaos, further explain the theology of the scene.

“Spitting Upon Apep Defiling Apep with the Left Foot Taking a Lance to Smite Apep Fettering Apep Taking a Knife to Smite Apep Putting Fire Upon Apep.”8

Details of the visual grammar of the figures in has been altered in the later images (4 and

5) to read Christian identities such as Christ, the Archangel Michael, and Satan. Nevertheless, the

visual language narrating the formula of the deity and his forces successfully subduing evil/

chaotic forces reads analogous to that of ancient Egypt. The consistency of the intended message

overcomes conflicts in time, culture, and theology.

During Egypt’s long history it influenced and was influenced by neighboring civilizations

both near and far. (image 6) A review of this research is beyond the purview of this paper.9

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8 Kousoulis, Panagiotis I. Magic and Religion As a Performative Theological Unity: The Apotropaic "ritual of Overthrowing Apophis". Liverpool: University of Liverpool, 1999. Print. chapters 3-5.

9 For example; during the Ptolemaic dynasty, 332 - 30 BCE, Hellenistic artistic themes and style merged with those of ancient Egypt. During this period Egypt did not loose any of its old religious forms, rather the Ptolemy and the Greek gods and religious forms they brought with them were ʻtranslatedʼ into an Egyptian expression. The Ptolemy dynasty retained their Greek language and social traditions of the Greek polis, but did so in a culturally Egyptian manner (James, T G. H. An Introduction to Ancient Egypt. New York: Published by Farrar Straus Giroux in association with British Museum Publications, 1979. Print. p.79 - 80). As a vassal of the Roman Empire Egypt was culturally pulled west. Rome did borrow from Egyptian art and culture, whereas during the Ptolemaic period Greek forms were Egyptianized, the Romans took Egyptian forms and Latinized them, such as rendering the figure of Horus as a Roman Legionnaire (James p. 242). The rise of the Byzantine Empire saw the Christianization of the visual grammar of the region (Capuani, Massimo, and Otto F. A. Meinardus. Christian Egypt: Coptic Art and Monuments Through Two Millennia. Collegeville, Minn: Liturgical Press, 2002. Print. p. 265). see also, "Sassanid Influences on Coptic Art." : Claremont Coptic Encyclopedia. N.p., n.d. Web. 29 Jan. 2014.http://ccdl.libraries.claremont.edu/cdm/singleitem/collection/cce/id/1711/rec/2 accessed 6 April 2012; and Partrick, Theodore H. Traditional Egyptian Christianity: A History of the Coptic Orthodox Church. Greensboro, NC: Fisher Park Press, 1996. Print. p.51, p. 118

Suffice it to say that multiple cross-cultural mediators10

have indeed created a rich common stock of visual

grammar which can be seen in Neo-Coptic Art.

Neo-Coptic style:

The Neo-Coptic School of Iconography was founded by Dr Isaac

Fanous, a Copt and a classical trained fine artist. (image 7) This new

school of religious art was a continuation of a general renaissance in

Coptic culture, which began in late 1800’s.11 In his work, Dr. Fanous

demonstrates a continuity in the forms of expression, style, and cannon

of proportions from the early Pharaonic art to the

Romanized Egyptian art of Late Antiquity.12,13

For example, elements of visual grammar that

harken back to the ancient eras of Egypt include

depicting the important person larger than other

figures, including text, and organizing the images in

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10 Canepa, Matthew P. The Two Eyes of the Earth: Art and Ritual of Kingship between Rome and Sasanian Iran. Berkeley: University of California press, 2009. Print. p. 407

11 “Michael Saad on Coptic Icons and Culture” Email interview 30 jan 2014

12 Gabra, Gawdat, and Marianne Eaton-Krauss. The Treasures of Coptic Art in the Coptic Museum and Churches of Old Cairo. Cairo: American University in Cairo Press, 2006. Print. p. 186

13 Cassiday, A. "Ashraf and Bernadette Sadek, L'incarnation De La Lumiere: Le Renouveau Iconographique Copte a Travers L'oeuvre D'isaac Fanous." Sobornost. 24 (2002): 88-89. Print. 88-89.

Dr Isaac Fanous1919 - 2007

image 7

Image 6

image 8

registers14 as seen on the Narmer Palette. (image 8) The

uncluttered, direct style of the Neo-Coptic School is a

synthesis of thousands of years of Egyptian didactic visual

grammar and artistic traditions with modern art techniques.

Specific consideration of how theological themes appear

across the arc of Egypt’s six thousand year history

demonstrates this continuity of composition, form, and

function in the Visual language of the Neo-Coptic style.

Dr. Fanous expresses the trope of the battle of good

over evil as seen in the Pharaonic art (see images 2, 3, 8) as

Christian visual theology in many of his Neo-Coptic icons, for example Archangel Michael. In

the icon we see the Archangel subduing Satan under the direction of Christ. The cross at the top

of his spear and on his shield being the element of visual grammar symbolizing the salvific

power of Christ and his divine commission to Michael. The grammar of the icon maintains the

integrity of ritual elements from the Pharaonic magical text. Michael is defiling the image of evil

with his feet, he smites it with a lance, and is thrusting it into the fire. (image 9)

Part Two: Reading Paul in Neo-Coptic Icons

Although pictures of icons can be found in the homes, purses, and wallets of church

members, it is in the church itself were the totality of the liturgical message of the icons is

experienced. Reading icons of the Orthodox Churches is not a study of art history, original intent,

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14 Cassiday, p.88-89

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linguistics, or excavating the historicity of the subject. It is the experience of liturgical

symbolism.

The body of this paper now seeks to present the icons as readings of Orthodox theology.

Paul’s epistle of Galatians was chosen as the text to follow for this examination because it

contains a succinct outline of theological ideas important o the success of the early Church. It is

my intent to present the subject as sympathetically as possible to the Coptic Orthodox point of

view. To that end I interviewed the following:

- Bishop of the Coptic Orthodox Diocese of Los Angeles, Bishop Serapion,

- Father James Soliman, clergy at Holy Virgin Mary Coptic Orthodox Church, in Los Angeles,

- Father Shenouda Ghattas, clergy at St. John’s Coptic Orthodox Church in Covina, CA.

- Father Daniel Habib, also clergy of St. John’s Coptic Orthodox Church,

- Father Macarius Shehata, clergy at St. Mina Coptic Orthodox Church in Colton CA,

- Hany Takla, Director of the St. Shenouda Center of Coptic Studies.

- Michael Saad, Managing Editor, Claremont Coptic Encyclopedia, Research Associate with

Institute for Signifying Scripture and Chair of Council for Coptic Studies at CGU,

Interviews were also conducted with many lay members. The interview process included

small group Q & A discussions, one-on-one private interviews, and printed questionnaires

anonymously filled out and returned. Additionally, I attended church services and church

sponsored community activities for several months. Research also included reference materials

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listed in the bibliography for this paper such as Ouspensky, Leonide’s The Theology of the Icon

in the Orthodox Church15, and Paul Evdokimov’s The Art of the Icon.16

Galatians as a Chiamus:

The letters of Paul were written to believers. In his epistles, Paul was addressing the

questions, concerns, and doctrinal mis-conceptions regarding “the Good News” as they were

being experienced in established congregations of the Jesus movement. Galatians were such a

group, members of the greater Christian church body, the initiated.

Unpacking Galatians reveals a ring composition also know as the chiasmus poetry form

in the letter. I identify the seven points of the epistle as -

Pauline Theological Themes in Galatians outlined in Chiasmus form

ai) Life of Christ - resurrection & atonement bi) Authority of the gospel via revelation & Apostolic unity ci) Works of law; Justification by faith d) Baptism: qualifier for Abrahamic promise, become a ‘child of Christ’ cii) Justification by law vs Christian freedom and the new law bii) Works of the flesh vs works of the spirit - moral laws of the gospelaii) Glory only in Christ, the crucifixion & its salfivic power for the individual

We will now walk through the letter looking at Neo-Coptic icons to illustrate the points of the

letter.

ai Salvation through Christ:

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15 Ouspensky, Léonide. The Theology of the Icon in the Orthodox Church: [the Meaning and Content of the Icon]. Paris: Editions de l'Exarchat Patriarcal Russe en Europe Occidcentale, 1960. Print.

16 Evdokimov, Paul. The Art of the Icon: A Theology of Beauty. Redondo Beach, Calif: Oakwood Publications, 1990. Print.

The letter begins with Paul’s opening salutation, point ai in the composition, invoking the

mortal life, the death, the resurrection of Christ and the atonement it offers.17 Reading Pauline

theology both in Galatians and in the icons begins and ends with the physically defined

Christianized space, the church. Paul’s refers to the church as “all the members of God’s

family”18, a description of the church as a social institution. As an icon this social organization

can be represented by the dedicated meeting place, the church building. The architecture of

purpose built religious buildings contain multilayered symbols of theology and the liturgy,

invoking “different layers of the space of the church and, by extension, different layers of

spiritual intuition.”19 The German writer Ferdinand Piper called the relationship between

theology and architecture “monumental theology”.20 Seeing architecture itself as an icon the

church then represents the liminal intersection of the divine and the mortal.

Architecture as Icon:

In architecture there are three levels of symbolism. First as the representation of the

image of God, the church embraces all things intelligible and perceptible, past, present and

future. The church in the sum of all its parts holds and transmits the energy of God. Second, as a

symbol of the world, the reality of the visually tangible and the invisible are present in church

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17 NRSE Gal1: 1-3, P. 1974

18 NRSE Gal1: 1-3, P. 1974

19 Ćurčić, Slobodan, Euangelia Chatzētryphōnos, Kathleen E. McVey, and Hélène Saradi. Architecture As Icon: Perception and Representation of Architecture in Byzantine Art. Princeton, N.J: Princeton University Art Museum, 2010. Print. p. 102

20 Antonova, Clemena, Space, Time, and Presence in the Icon: Seeing the World with the Eyes of God. (Ashgate Studies in Theology, Imagination and the Arts) Ashgate Publishing Limited, England p.136

architecture; for example, the nave representing the earth and the Sanctuary the heavens. Third,

as icon the church also represented the individual man, the nave signifying the psychical body,

the sanctuary his mind, and the experience through liturgy the transit of his soul towards Christ.

Though the exact location of Galatia has long been a topic of scholarly discussion, it is

agreed that is was a significant distance from the center of the Jesus movement at Jerusalem. For

Coptic immigrants in the Diaspora, the distance from Egypt is keenly felt. St Minas Coptic

Church in Riverside CA was designed as an architectural icon to both reflect this separation and

to celebrate opportunities of living far away from the center of their homeland, culture, and faith.

(image 10)

The building is designed after the description of Noah’s ark and it is located at the peak of

one of the high rolling hills of the southern CA Mohave desert. Positioning the church building

in this location reflects the narrative of Noah’s ark safely bringing its occupants to rest on Mount

Ararat after its journey across the flood

waters. Structurally the flying buttresses are

designed to meet earth quake building code

requirements; however, as intentional

elements of visual grammar they read the

metaphoric theology of Isaiah’s prophecy

regarding enlarging the place of the tent of

Zion and extending the stakes for the Lord’s

chosen, church members, to gather.21 As

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21 NRSE Isaiah chapter 54, pp. 982 - 983

St Minas Coptic Orthodox Church, RIverside, CA USA

ai)

Photo credits: Magi Hernandezarchtectual rendering of front facade oened by St Minas Coptic Church photographed with permission

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Michael Saad explains, “The church architecture has biblical elements from both Noah’s Ark

with its paddles and buttresses, and the tabernacle tent with its anchoring ropes.”22

bi Authority of the gospel via revelation & Apostolic unity Point bi of the Galatians chiasmus is a

discussion of the sole authority of Christ’s true gospel

and those who teach it by revelation, by faith in Christ,

and by the ‘right hand of fellowship’ or Apostolic

authority.23

Authority is the subject upon which hinged

everything else Paul had to say to the Galatians. We will

look at seven icons which can be read to support Paul’s

authority theology. The icon of Christ preaching in the

temple will be explored first.24 (image 11) Christ as a

young boy stands in the center of the icon and He is the

largest figure. Two of the figures representing the learned doctors of the law to the left of Christ

(the viewer’s right) are holding and pointing towards the Torah and tablets representing the Law

of Moses and the Levirate Law. The figure above them has a small narrow head signifying a lack

of wisdom and seems to have a hardened expression. The three top figures on the Christ’s right

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22 Saad, Michael. "Coptic Civilization in the Diaspora." Coptic Civilization. Gawdat Gabra N.p.: AUC, 2014. 268. Print. (in printer at time of writing this paper)

23 NRSE Gal 2:9, p. 1975

24 NRSE Luke 2: 41 - 52, pp. 1766 - 1767

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(the viewer’s left) have a dismissive expressions on their faces represented with the visual

grammar of closed, half closed, narrowed, and/or eyes looking away from Christ. For example,

the top figure rolls his eyes, while the figure below him closes his eyes; and the next looks

sideways with narrowed his eyes expressing an attitude of suspicion or questioning. In the front

there is a container of closed scroll opposite a small table bearing an open scroll, a quill, and an

ink pot. The figure directly behind the table seems receptive. He looks directly at Christ with

large, open eyes and he holds his hands up in the posture of supplication. In other versions of this

icon, Dr. Fanous often painted this figure in the act of transcribing; a gesture of visual theology

illustrating that actions of the young Christ are fulfilling the Law of Moses, the prophecies of the

Torah, and His words are replacing the authority of the closed scrolls opposite.

Paul’s own claims to authority are grounded on his personal vision of Christ on the road

to Damascus,25 where he makes a Jeremiah claim to having been “set apart” and called to the

commission of the gospel before he was born.26 The theology of Paul’s claim is depicted in an

icon painted by Dr, Fanous visually narrating Paul’s vision on the road to Damascus. It is located

on the extreme left of the Iconostasis of the St Minas Coptic Orthodox Church in Colton/

Riverside, California, USA. The icon illustrates Paul’s revelatory experience as well as validating

the authority of his commission. It is also another expression of the battle of good over evil.

Captured in the midst of his transition from Saul to Paul he kneels on the ground in the posture

of a supplicant as seen in court scenes of ancient Pharaonic art. (image 12)

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25 NRSE Gal 1: 11- 24, p. 1974

26 NRSE Gal 1: 15;, p. 1974; compare with NRSE Jeremiah 1: 4-5, p. 1001

In the icon, the figure of Christ holds His arms outstretched toward Paul while spears of

light shine from His hands. Functioning as both fire and lances used in the Pharaonic magical

text to subdue Apep, these spears of light drive the darkness of Saul’s misunderstanding of the

law out of his heart and mind and he is spiritually reborn as Paul. Like the rays of light

emanating from the sun god from Ra/Aten falling upon and blessing the Pharaoh as his

physically personified representative on earth, Christ’s posture towards Paul also reads the

narrative of Paul being welcomed into Christ’s presence and being endowed with the

commission to represent Him on earth. (image 13)

In chapter two Galatains, Paul calls the Apostles the pillars of the church.27 He describes

how the Apostles gave of the “right hand of fellowship”28 to each other assuring his readers of

Apostolic unity between apostles and that this unity was formalized by a ritual act. Paul goes on

to acknowledge the reports of disagreement between the Apostles and explains how these

misunderstandings were put right by appealing to the “truth of the gospel”29 and highlighting that

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27 NRSE Gal 2: 7-9 p.1975

28 NRSE GAL 2: 9 P. 1975

29 NRSE Gal 2:14 p. 1976

image 13image 12

each of the Apostles had callings too and authority for

specific groups - i.e. Peter was called as the Apostle to

the circumcised, while he, Paul, had been “entrusted

with the gospel for the uncircumcised.”30

Icons of the Apostles include codified signifiers

of their authority and life’s work. For example, icons of

St. Peter often include visual grammar elements such as

receding hairline signifying wisdom and his seniority

among the apostles. He may be depicted with a hand

held in blessing, holding a church building and/or a net

of fish. The background might include a fishing boat

and/or an upside down cross. An icon of St. Paul will often include a boat signifying his

missionary travels and have him holding seven scrolls, a cross, and a sword.

Icons of St. Peter and St. Paul together represent the apostolic unity Paul’s preaches. Dr.

Fanous’ icon of St Peter and St Paul found at the St Peter and St, Paul Coptic Orthodox Church

in Santa Monica, California, USA is such an icon. (image 14) In the icon St. Peter and St. Paul

are of equal size and stand side by side looking out at the viewer. They both wear white tunics.

St. Peter wears a red robe. He holds net of full of fish in his left hand representing his charge as

the caretaker of the church.31 He holds his right hand in a mudra of benediction, illustrating his

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30 NRSE Gal 2:7 p. 1975

31 Michael Saad also suggests that “Fanous might have meant the past (left side) was Peterʼs profession as a fisherman, while the future (right side) an apostle.” “Michael Saad on Coptic Icons and Coptic Culture” Email Interview 30 Jan 2014

image 14

authority as leader of the church to receive revelation for the church and to direct and bless it in

Christ’s name. St. Paul carries his epistles, a sword, and a cross. All three serve as signifiers of

revelation and of his work to spread the message of the Jesus movement while at the same time

protecting and defending the church, The cross especially identifies Paul’s personal claim to

“glory only in the cross”32 or in Christ’s sacrifice as the act effecting Paul’s redemption. Above

them an angel hovers in the act of bestowing upon them martyr’s crowns, signifying that they

were true to their apostolic commissions unto death and that they and their work has been

accepted in to Heaven.

The Apostolic mission of St. Mark is especially important to the Copts. By the beginning

of the Common Era, Jewish populations in cities along the coast of North Africa were several

centuries old. Tradition holds that St. Mark is a Levirate Jew born in Cyrenaica, Libya whose

family also maintained a home in Jerusalem.33 To escape civil disturbances in Cyrene during the

early first century C.E. “the family of Mark left Cyrenaica for Palestine where Mark and his

mother became engaged in the company of Jesus of Nazareth.”34

St. Mark was a participant in the Last Super and a witness to the Pentecost. The Gospel

of Mark is considered to be the oldest surviving written history of Jesus.35 St. Mark accompanied

St. Peter and St. Paul on their missionary journeys for a time. In his role as an Apostle, St Mark

carried the Jesus movement back to the Jewish communities of North Africa where he became

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32 NRSE Gal. 6:14 p.1981

33 NRSE Acts :12:12 p.1878

34 Oden, Thomas C. The African Memory of Mark: Reassessing Early Church Tradition. Downers Grove, Ill: IVP Academic, 2011. Print. p. 21, 45-7

35 Oden p. 22

the founding father of the African Christian Church.36 St. Mark was martyred by a mob in

Alexandria about 62 C.E.37

Icons of St Mark having him writing, or holding a book while teaching and will include

visual grammar which situates him in a first century C.E. Egyptian setting, such as the library of

Alexandria or the light house in the harbor of Alexandria. An icon of St. Mark painted by Dr.

Fanous for the St. Mark Coptic Orthodox Church in Los Angeles, California, USA, includes

most of these visual grammar elements. (image 15) In this icon St. Mark is in the act of

transcribing divine direction received from a heavenly messenger for the Egyptian churches

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36 Oden p. 138

37 Oden p. 157, 212

image 16image 15

while a lion headed seraphim and an Ibis rest at his feet, symbols of his Apostolic authority and

his calling to take the message of Christ to Egypt. The St. Peter and St. Paul Coptic Orthodox

Church in Santa Monica displays an icon by Dr. Fanous of St. Mark is using his apostolic

authority to ordain Anianus to be his successor as bishop of Alexandria under the direction and

approval of the Holy Spirit. (image 16)

St. Paul’s warning to those opposing the true gospel:

This segment of the letter (chiasmus point bi continued) includes strong language about

the fate of troublemakers who “pervert the gospel of Christ.”38 Twice St. Paul condemns those

who seek to confuse, subvert, or alter the gospel calling them “accursed”, or “damned.”39

As previously discussed, Neo-Coptic iconography reaches deep into Egypt 6,000 year

history to borrow from the visual language used to describe the battle of

good overcoming evil. This imagery serves as a model for illustrating the

fate of those who oppose the word of Christ.40 Refering again to the

palette of Narmer (image 17) we see the visual grammar expressing of

the victorious king, good, striking down the subdued enemy, evil, while

trampling him underfoot.

St. Paul’s theology of the true gospel and the accursed fate of

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38 NRSE Gal 1:7 p. 1974

39 NRSE Gal 1:8 - 9 p. 1974

40 Recall that Pharaoh is the embodied representative of the god Horus. He holds the signifiers of his authority, the staff and miter, and he act under the direction of the gods, Hours, Ra, and Hathor. To oppose the Pharaoh is to oppose the authority of the Gods and the order of the universe.

image 17

those who oppose it both from within the fellowship of the church and from without is

expressed in the Old Testament narrative icon of David and Goliath.41 In the southern arm of the

nave at the Holy Virgin Mary and St. Pishoy Coptic Orthodox Church an icon of this narrative.

The son of Jesse, David prefigures the mortal Christ who is the seed of Jesse. David’s dramatic

battle with Goliath likewise prefigures Christ’s battle and conquest over death and Satan. In the

icon he is dressed in a white tunic and red cloak identifying him as Christ’s forerunner. David

stands over the defeated enemy Goliath. He is identified by his sling and holds his enemy’s

sword in his hand in the act of smiting as seen on the Narmer Palette and in scenes of the Horus

subduing Apep (images 1- 2)

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41 NRSE 1 Samuel 17: 17 - 51. pp. 415 - 416

Image 18 image 19

As a battle of ideas, St. Paul’s true gospel theology and fate of the accursed is seen in the

icon of Athanasius confronting Arius at the council of Nicaea. Arius and his creed is ruled by the

council to be a ‘different gospel’ and an attempt to ‘pervert the gospel of Christ” as described by

St. Paul in Galatians.42 Also from the Holy Virgin Mary and St, Pishoy Coptic Orthodox Church

In Los Angeles, in the northern arm of the nave, is the icon narrating the council of Nicaea with

Athanasius as the victorious champion of good standing over Arius the defeated representation of

evil. Again, we see the ancient visual grammar of the victorious god/king trampling his defeated

enemy.

ci Works of law; Justification by faith

The subjects St. Paul addresses in the next section of the letter, point ci of the chiasmus,

are the works of the law and justification by faith. He frames these two concepts as a form of

liberty theology. Using one’s free will to choose to trust in Christ is the act that leads to freedom

from sin; while rote obedience to the law is a form of bondage in that it prevents one from

exercising faith in Christ.43 We will look at two icons which illustrate this concept.

A subtle expression of this choice is the story of Jesus’ visit to the house of Mary and

Martha. Recorded in Luke -

38 ¶Now as they went on their way, he entered into a certain village: where a woman named Martha welcomed him into her house.

39 She had a sister called Mary, who sat at the Lord’s feet and listened to what he was saying.

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42 NRSE Gal 1: 6-7 p. 1974

43 NRSE Gal 2:21; 3:18, 29; 1:4; 2:20-21; 3:13-14; 3:21-22; 4:3-9; 5:1; pp. 1974 - 1979

40 But Martha was distracted by her many tasks; so she came to him, and asked, “Lord, do you not care that my sister has left me to do all the work myself? Tell her then to help me.”

41 But the Lord answered and said unto her, “Martha, Martha, you are worried and distracted by many things:

42 there is need of only one thing. Mary has chosen the better part, which will not be taken away from her.44

Located in the southern wing of the Sanctuary Of Holy Virgin Mary and St. Pishoy

Coptic Church is an icon of Mary and Martha hosting Christ in their home. The visual narrative

of this icon reads St. Paul’s liberation theology through choosing Christ. Visual grammar

illustrates to the viewer that while the works and needs of the flesh do need tending to, they are

secondary to the works and needs of the spirit. (image 20) In the icon Mary is presented in the

posture of the defeated enemy as seen on the palate of Narmer and in the icons of David fighting

Goliath and Athanasius suppressing Arius.

Martha is standing, typically the

gesture of the victor. The positioning of her

arms and hands are in pose of the victor and

easily allow for a spear or sword to be placed

in them, or a scroll as in the icon of

Athanasius. In the context of this narrative a

serving tray and cup replace the weapons of

the victor and represent the distractions of the

flesh.

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44 NRSE Luke10: 38-42 p. 1784

image 20

The conventional interpretation of the visual grammar reading good over evil is inverted

in Dr Fanous’ composition. Martha is positioned on the far side of the table and very nearly

pushed out into the desert background. Christ sits on the near side of the table. In the foreground

a prostrate Mary lies in front of and embraces his feet as opposed to being trodden under them; a

shift in the visual grammar of the good over evil trope. In place of a reference to fire as seen in

Archangel Michael defeating evil the foremost visual element in the icon is a bowl of water

reading metaphoric theology of Christ as the living water. The gestures of Christ’s arms and

hands bless and welcome Mary into his presence.

Mary’s posture now become the gesture of redemption and liberty through trust in Christ,

while Martha, in choosing the business of the works of the flesh over Christ, is set apart and

away from his fellowship. Demonstrating the distance and spiritually isolating consequences of

Martha’s choice, two women are separated by the pillars, the curtains, the

table and the figure of Christ.

The icon narrating Luke’s account of Christ forgiving the sinful

woman45 reads similarly to the Mary and Martha icon above. Found in

the southern arm of the nave at Holy Virgin Mary and St. Pishoy Coptic

church, this icon depicts the sinful woman, like Mary, in the posture of

the defeated enemy. Also like Mary, she is not being subdued under

Christ feet, rather she is portrayed in the act of embracing them while

washing them with her hair. Like the bowl of water in the Mary and

Martha icon, a small jug of ointment replaces the visual grammar of fire

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45 NRSE Luke 7: 36 - 50; p. 1777 - 1778

image 21

as the foremost element in the image; further suggesting a reading the Christ as healer

metaphoric theology. Christ is sits on the right side of the icon receiving the woman’s offering

with a blessing by placing His left hand placed on her head. His right arm is bent at the elbow

with his hand raised shoulder height fingers pointing at the head of Simon the Pharisee. Christ’s

body is positioned so as be between her and figure of Simon. shielding her from the judgments of

Simon the Pharisee. Simon’s claims to the right to pass judgement based on the law put him at

odds with the choice of faith in Christ to redeem as demonstrated by the sinful women. The icon

reads Christ accepting, blessing and protecting the women while reproving and teaching Simon.

(image 21)

The icon of the boy Christ teaching in the temple also serves to illustrates this concept.

(image 11) Clinging to tightly to the letter of the law prevented the learned men from

recognizing the promised redeemer, an act of faith according to St. Paul.

d Baptism: the qualifier for Abrahamic promise, becoming a ‘child of Christ’

The letter pivots with St. Paul’s explanation of being made a ‘child of Christ’ or, being

“clothed with Christ” with the rite of baptism.46 Participating in the ritual of baptism

demonstrates the faith of the person choosing the message of the Jesus movement - the gospel St.

Paul was teaching. In this act, one sheds all other identities, “no longer Jew or Greek, slave or

free, male and female” and “belongs now to Christ” and qualifies as an heir of Abraham.

To make them a part of the daily liturgy, the icons of Christ Enthroned, the Theotokos, the

Baptism of Christ - the Theophany, the Last Supper - Eucharist, and the 12 apostles occupy

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46 NRSE Gal 3: 26 -- 29 p. 1978

codified positions on the Iconostasis. The icons of

the Iconostasis directly before the worshipers. This

placement keeps these icons and the theology they

express continually present in the liturgy as well as

in personal prayers.47

The icon of the Theophany, is always placed

to the right of the center door to the Sanctuary next

to that of Christ enthroned. In fulfillment of

Isaiah's prophecy, John the Baptist, baptizes Christ,

angles are in attendance, and the Holy Spirit in the

form of a dove descend to seal divine approval.

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47 “Michael Saad - ” Interview

image 22

image 23

Again we see the trope and gestures of the triumph of good over evil. Christ as the imperial

victor stands on his conquered enemy the snake under his feet. (image 22)

The icon of the Last Supper is placed on the iconostasis over the central door to the

Sanctuary.This one being from the St. Peter and St. Paul Coptic Orthodox Church, Santa Monica,

California. The ritual of the Eucharist is believed to quite literally, make the partaker one with

Christ. Like the rite of baptism the act of partaking of the Eucharist makes the choice to follow

Christ tangibly physical. (image 23)

cii Justification by law vs. Christian freedom and the new law

St. Paul returns to the issue that seems to be core to the Galatians misunderstanding of the

gospel, their questions about justification by the law vs. the law being fulfilled in Christ. St. Paul

explains that Christ is the embodiment of a new law. This

new law is called the law of the gospel.

Galatians’ obsession with the law seems to revolve

around the idea that the Law of Moses and the law of the

Gospel brought by Christ were independent of each other--

that one must choose between them. St. Paul’s epistle

devotes significant energy to explaining that Christ fulfilled

the terms of the Law of Moses and by so doing eliminated

the need to keep the regulations that defined it.

The fluidity of visual language and grammar allows

for concepts of visual theology, such as Pauline theology

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image 24

regarding law, to be read in many ways across many icons. However, the icon of Moses and the

Burning Bush contains visual language which particularly expresses the source of the Law of

Moses and its fulfillment in Christ. Moses describes his theophany with the “I Am” as an

interview with the divine being speaking out of a fiery tree that did no burn on Mt. Sinai.48 In

this icon of Moses and the Burning Bush the image of Mary the mother of Christ is seen in the

flames. (image 24) As John Barton says, “The law is the form God take when he wants to reveal

Himself.”49 According to St Gregory of Nyssa, the burning bush is the representation of the

Theotokos. Says Gregory, “From the image of the burning bush seen by Moses, we learn the

Mystery of the Virgin: the Light of Divinity, which through birth shone from her into human life,

did not wither the flower of her virginity, just as the burning bush was not consumed.”50

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48 NRSE Exodus 3: 1 - 6, p. 87 - 88

49 Barton, John. Ethics and the Old Testament. Harrisburg, Pa: Trinity Press International, 1998. Print. p. 95

50 Gregory, . The Life of Moses. New York: Paulist Press, 1978. Print. p. 59

image 25image 26

The “Light of Divinity” shining through the bush gave Moses the law for the children of

Israel. That same “Light of Divinity” was born to Mary as the Christ child and was presented at

the temple thus fulfilling the terms of the Law of Moses and completing the work of bringing the

new law of the Gospel. (images 25 and 26) St. Paul’s efforts to teach the Galatians that there is

no conflict with the old law being “swallowed up” in Christ are explained with the visual

exegesis in the icons. These three icons are found in the northern arm of the nave at Holy Virgin

Mary and St. Pishoy Coptic Orthodox Church, Los Angeles.

St. Paul warns of the dangers of clinging to old forms of the law. He likens the rote

dependence on the law to a state of slavery. Like the characters of Martha and Simon in the icons

of Mary and Martha and Forgiving the Sinful Woman, (images 20 and 21 respectively) the claim

to justification by rote dependance on the old law only serves to cut oneself off from Christ. St.

Paul calls it a fall from grace which makes one unable to participate in the redemptive rewards of

accepting Christ as the law fulfilled. According to St. Paul, accepting the work of Christ on the

cross is a call to freedom.51 The nature of this freedom is love, he declares and goes on the

explain that the requirements for qualifying and maintaing this new Christian freedom is “faith

working through love.”52 He further defines the new law of the gospel with the commandment

“you shall love your neighbor as yourself.”53

New Testament life of Christ narrative icons read the visual theology of this new law as

explained by St. Paul. In these three icons we see Christ modeling the law of the Gospel. Christ

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51 NRSE Gal 5:13 p.1974

52 NRSE Gal 5:6, p. 1979

53 NRSE Gal. 4:21, 28; 5:1, 14; p. 1979 - 1980

serves the needs of the party guests and especially the party host when he answers his mother’s

request for help by turning water into wine at the marriage of Cana.54 (image 27) While

preaching to the multitude on the shores of Galilee Christ acknowledges the needs of the hungry

crowd as his own and with the help of a young boy’s packed lunch miraculously feeds 5000.55

(image 28) Along with the narratives of the wedding in Cana and feeding the 5000, the icon of

Christ healing the blind man Christ models this new law of loving another as oneself56, as well as

working “for the good of all”.57 (image 29) The first two icons are found next to each other in the

western arm of the nave at Holy Virgin Mary and St. Pishoy Coptic Orthodox Church. The icon

of Christ healing the blind man is in the nave to St. Peter and St. Paul Coptic Orthodox Church,

Santa Monica.

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54 NRSE John 2: 1 - 12; p. 1818 - 1819

55 NRSE Matt 14: 13 - 21; p. 1693; Mark 6: 30 - 44; p. 1735 - 1736; Luke 9: 10 - 17; p. 1781; John 6: 1 - 14; p. 1825 - 1826

56 NRSE Gal 5: 13 - 14; p. 1980

57 NRSE Gal 6: 10, p. 1981

Image 29image 28image 27

In the Pauline reading of these icons, the new wine, the sated crowd, nor the blind man’s

vision restored are the objective of the story, rather it is the act of Christ loving the people in

these respective narratives and the service which that love engenders. The icons visually

demonstrate Paul’s message that the new law is the power of ‘works of faith’ working through

love.

bii) Works of the flesh vs. works of the spirit - moral laws of the gospel

Members of the Jesus movement in Galatians were experiencing contention. People had

come into the church from varied social, religious, and cultural backgrounds. The motivation for

St. Paul's epistle is in response to this contention. Questions regarding the law and its application

seem to be fomenting the conflict. As the letter progresses St. Paul returns to the theme of the

law vs. faith, which he had addressed earlier (point ci of the chiamus). He now frames the

festering question as the opposition of desires of the flesh (the law) to desires of the spirit (faith

in Christ). Says St. Paul, “For what the flesh desires is opposed to the spirit, and what the spirit

desires is opposed to the flesh.”58 The spirit St. Paul speaks of here being the Holy Spirit one

receives after accepting Christ and committing oneself to the terms of Christian freedom St. Paul

had just explained. Accepting the new law of the gospel is to be led by the Spirit, which therefore

exempts one from the being subject to the old law.59 St. Paul includes conceit, envy, and

contention60 among the ‘fruits of the flesh’ and warns the Galatians that they make one unworthy

Madsen-Hernandez!! ! ! ! ! ! ! ! ! 31

58 NRSE Gal 5: 17 p. 1980

59 NRSE Gal 5: 18

60 NRSE Gal 5: 26, p. 1980

for the kingdom of God.61 Conversely, being led by the spirit is to love after the manner Christ

modeled. The fruits of this kind of love include joy, peace, kindness, self control, generosity

actions over which the old law has no claim.62

Like the justification by faith St. Paul had discussed earlier in the letter, choosing the

works of the Spirit frees one from the constraints of the old law and puts one under the

commandment to fulfill the law of Christ. St. Paul explains the two sides of this commandment.

First, the commandment, sometimes called the moral Law of the Gospel, is explained by St. Paul

as seeking to “ bear one another's burdens.63 Doing so protects one from being tempted by the

works of the flesh as well as demonstrating the many fruits of the spirit.64 The second part of

this new commandment is sometimes called the ‘law of the harvest’; St. Paul explains that one

will reap what they sow. If works of the flesh are sown the harvest will be corruption. Eternal life

is the harvest that comes from sowing works of the Spirit. St. Paul then commands the Galatians

put aside their bickering and not be weary in doing works “for the good of the family of faith,”

the church, as well as for all. Good works and bearing one another’s burdens fulfill the moral

law of the gospel says Paul.65

The narrative of St. Verena illustrates the Pauline moral theology to take every

opportunity to do good works. Tradition holds that Verena was born to a noble Christian family

in the region of Thebes in Egypt in the 4th century C.E. The Roman Theban Legion was also

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61 NRSE GAl 5: 20 - 21, p. 1980

62 NRSE Gal 5: 22 - 24, p. 1980

63 NRSE Gal 6: 2, p. 1980

64 NRSE Gal 5: 22 - 26; p. 1980

65 NRSE Gal 6: 7 - 10, p. 1981

from this region of Egypt and was mostly Christian. It was the custom for female relatives of the

soldiers to travel with the soldiers on their campaigns to provide nursing services for the sick and

wounded. Verena was among the group of women attached to the legion. Tradition suggests that

members of the legion St. Maurice and/or St. Victor may have been her relatives. The Legion’s

campaigns ultimately brought them to Switzerland where the soldiers were martyred. Verena

then remained in Switzerland serving the poor, caring for orphaned girls, and proving nursing

care for widows and lepers.66

Visual grammar elements identifying St. Verena in the icons include a water jug, a satchel

with bandages and a comb she carries. A campground of military tents and/or a gathering of

young girls and old women may also be included, often as background scenes.

In a new interpretation of the St Verena’s narrative,

Dr. Fanous added her figure into the composition of the icon

of St. George he painted for the St. Peter and St. Paul Coptic

Orthodox Church in Santa Monica, California, USA. In this

icon St. Verena is a small figure siting astride the horse

behind St. George. She holds onto his belt with one hand

with her jug in her other hand outstretched behind her.

Including St. Verena’s narrative in the icon of St. George

expands the visual theology of St. George’s narrative to

recognize and include acts of charitable service as a part of

the battle of good over evil. (image 30)

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66 "Santa Verena Charity." Santa Verena Charity RSS. N.p., n.d. Web. 3 Jan. 2014.

image 30

In Bishop Serapion’s, receiving room at the office

of the Diocese at St Maurice Coptic Orthodox Church,

Pomona, CA USA, there hangs another icon of St.

Verena painted by Dr. Fanous. In this icon Dr. Fanous

further expands the visual theologies of St. Verena’s

narrative. She stands on the left side of the icon with all

her identifying visual grammar - her jug, satchel with

bandages and comb, and the military camp behind her

feet. On the right side of the icon the Theotokos sits on

her throne with the young Christ on her lap. Both Christ

and Mary look toward St Verena who is in the act of offering her jug of water to them. Christ

extends his right hand over the jug towards Verena and his left hand is raised in the mudra of

blessing. (image 31)

Bishop Serapion points out that St. Verena lived some 300 or more years after the birth of

Christ, and that such a meeting between these three figures never occurred. The Bishop explains

that the way this icon was written creates a transcendent reality, symbolizing that living the

moral law of the gospel and bearing one another’s burdens are actually acts of love received by

Christ.67 In a reflection of the Pauline theology of goods works present in her narrative, in recent

decades St. Verena has become the namesake for charitable ministries sponsored by a few Coptic

congregations in the diaspora.

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67 “Bishop Serapion -” interview

image 31

The figure of Joseph is another example of Paul’s moral

theology commanding the Galatians to led by the spirit in serving

and loving others without judgement. When his betrothed told him

she was with child, rote obedience to the law demanded that Joseph

denounce and put her away. The spirit offered another choice that

made him free to keep Mary as his wife and led him in a life of

service to the Theotokos and the Messiah.68 The composition

narrating the flight of the holy family to Egypt includes the visits

from the angel to Joseph, explaining who the child really is and

giving him the commission to be the earthly protector and provider

for the mother and child. (image 32) Quite literally, this icon reads

the Pauline moral theology of love and good works through serving the family of faith. This icon

was designed by Dr. Fanous for the nave St. Minas Coptic Orthodox Church in Colton/Riverside,

California, USA. It was painted by one of his students.69

aii) Glory only in Christ, the crucifixion & its salfivic power for the individual

Coming full circle to his original thesis, point aii of the chiasmus, St.Paul concludes his

epistle with the reminder of Christ’s crucifixion. When talking about the Christ in the opening

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68 Angels visits Joseph to announce Maryʼs pregnancy NRSE Matt 1: 18 - 55; p. 1669; Angel warns Joseph to take Mary and the Christ child to Egypt NRSE Matt 2: 13 - 15; p. 1670

69 Dr Fanous was commissioned to paint the icons for St. Minas Coptic Orthodox Church in Colton/Riverside, California, USA; He did paint the Apse and Iconostasis and, although he completed the icon designs he was not able to complete all the paintings for the nave due to age and ill health. His students completed the paintings.

image 32

lines of his salutation in chapter one, he uses the plural pronouns “our” and ‘us‘ - “ . . . the Lord

Jesus Christ who gave Himself for our sins to set us free . . . “ (emphasis mine). Identifying the

work of Christ as it pertains to the members of the church in Galatians as a group, a social unit

representing the church body. In his closing lines, St. Paul sifts his pronouns to express a

particular gratitude for the salfivic power which the crucifixion and resurrection hold for him

personally, and therefore everyone, as an individual. With these closing lines, Paul frames the

choice between works of the law and flesh and the works of faith and the Spirit as a solitary

decision. Says Paul, “May I never boast of anything except the cross of our Lord Jesus Christ, by

Madsen-Hernandez!! ! ! ! ! ! ! ! ! 36

image 33

which the world has been crucified to me, and I to the world.”70 He dismisses the impulse to

contend over interpreting the law, suggesting that those who are pushing for a strict interpretation

of the law are doing to avoid public discrimination.71 “Neither circumcision nor uncircumcision

is anything,”72 and emphasizes the promise of accepting Christ as he did, “a new creation is

everything,” and the peace which comes from following this rule.73 St. Paul pleads for the

contention to end with a final display of his claims to Apostolic authority, “From now on, let no

one make trouble for me; for I carry the marks of Jesus branded on my body.”74

All the themes of Paul’s epistle come together in the icon of the crucifixion, allowing for

the Christ narrative to be read as the personal sacrifice so important to Paul. (image 33) The

crucifixion itself represent the conflicts between the letter of the law and the new law of the

gospel, faith and the Spirit. The world rejected the good news of Jesus’ message by subjecting

Christ to suffer the death sentence under Roman law, man’s law. The tension between choosing

works of the flesh and seeking things of the spirit is seen in the actions of the Roman soldiers

casting lots for Christ’s robe and the thief on Christ’s left who are respectively choosing the

works of the flesh as material things and the choice to reject faith. In contrast, the women at

Christ’s feet, the Roman Centurion, and the thief on the right of Christ are choosing faith and to

be led by the Spirit according to their individual levels of understanding and ability. The Apostle

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70 NRSE Gal 6:14, p. 1981

71 NRSE Gal 6: 12, p. 1981

72 NRSE Gal 6: 15, p. 1981

73 NRSE Gal 6: 16, p. 1981

74 NRSE Gal 6: 17, p. 1981

John receives the commission is to care for the women as if they were his own family fulfilling

the command of the moral law of the gospel.

Visual grammar interpreting the trope of the battle of good over evil is included in the

narrative on several levels, For example, the use of light and dark and the use of geometric

shapes to bring focus to the figure of Christ. While Christ must endure the physical torment

inflicted by the Roman soldiers angels attend to him in his suffering. Even though the figure of

Christ is in the act of being crucified he stands atop a skull and bones similar to the figure of

Horus standing victorious over the representatives of evil as seen in image 3. Additionally, the

base of the cross functions as the visual grammar of the spear welded by Christ to smite evil (as

seen in images 2, 3, and 4).

Gestures reading the application of Christ’s salvific power for the individual are found in

many of the icons such as this series of icons as seen in situ in the Nave of the Holy Virgin Mary

Coptic Church in Los Angeles. (image 34) The center icon is of the resurrection. The central

Madsen-Hernandez!! ! ! ! ! ! ! ! ! 38

image 34

message in its visual theology reads with all the grammar of the victorious fight of good

subduing evil. A triangular phalanx of heavenly golden glory advances from the top of the icon

two-thirds of the way down the enter of the composition. Christ resurrected stands triumphant in

the golden background over the empty tomb holding a staff/spear, with the standard of the cross

attached to the top. Three women75 are in attendance and two angels bear witness to the

resurrection. In a triangle of darkness at the very bottom of the icon directly below Christ's feet

and the point of the staff the figure of a Roman solider representing evil lies hunched in the

posture of the defeated enemy. Many elements of visual theology seen in the Pharaonic stela of

the young Horus (image 3) and the icon of the St Michael the archangel (image 9) are present in

this icon.

To the left of the Resurrection icon is the New Testament narrative of St. Thomas.76

Despite his doubts Thomas still expresses the desire to believe which grants him the privilege of

a personal interview with Christ to test the proofs of the atonement.

Decent into Hades is the title of the icon on the right side of the Resurrection. In the

visual theology of this icon the gift of overcoming the effects of death through Christ is depicted

in another presentation of the visual language of the victory of good over evil. Surrounded by a

golden mandorla the resurrected Christ stands atop two prone akimbo doors representing the

Madsen-Hernandez!! ! ! ! ! ! ! ! ! 39

75 One of the women can be identified as the Theotokos by the visual grammar of three stars on her head and shoulder covering. One star positions to be at the crown of her head, and a star on or near each shoulder. Says Michael Saad, “generally is is against Coptic thought” for the Theotokos to have been present at the tomb “even figuratively”. [“Michael Saad on Coptic Icon and Culture” email interview|] Nevertheless, the same visual grammar of three stars on her head/shoulder covering - one at or near her crown or center of her forehead, and one one each shoulder, used by Dr. Fanous to identify the Theotokos in most all of his icons, such as the Pentecost, Wedding at Cana, the Annunciation, Presenting the Infant Christ at the temple - etc is clearly seen on female figure closest to Christ

76 NRSE John 20: 19 - 19; p. 1852 - 1853

broken gates of hell. Christ stands in the posture of the triumphant victor nearly identical to that

of David in the icon of David and Goliath (Image 18). Behind and to the side of Christ (viewer’s

right) leans a tall cross. Its long vertical beam extends down behind Christ, pointing into the

center of a black triangle space below the broken doors. In this space Satan/evil in the form of a

winged serpent lies defeated and bound. Two open sarcophagi are positioned under the broken

gates of hell one on either side of the black space of Satan’s imprisonment. Christ lifts the

glorified figures of Adam and Eve, representing the entire human race, from the open tombs.

Other redeemed righteous figures, male and female, frame the background of the icon.

St. Paul’s affirmation of the salvific power of Christ’s atonement as an intimate personal

event is continued in the visual language of the remaining two icons in this sequence. On the far

right the icon of the Raising of Lazarus reads the Pauline theology of a personal salvation with

the large central figure of Christ personally comforting Mary and Martha’s unique concerns; then

the act of calling Lazarus forth from the tomb by name. To the far left we see the icon of the

Pentecost.77 Imagery at the top of the icon the Holy Spirit represented by the visual grammar of a

haloed dove in a mandorla of blue. The divine glory of the Lord radiates from the dove’s beak in

the form of a golden triangle, falling upon the figures of the Theotokos, two female companions

and the 12 Apostles below them. All 15 figures are glorified with a halo. A flame resting on the

head of each figure is the visual grammar reading Paul's theology that the presence of the Holy

Spirit is received individually.

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77 NRSE Acts 2: 1-4; p. 1858

St. Paul concludes his salutation to the Galatians with a final admonition to follow the

rule of the new law of the Gospel along with a benediction of peace and mercy, the grace of the

Lord to be with them.78

The individual as icon:

Returning to architecture as icon, we remember that the liturgical journey is to engage

physically as well as spiritually with the liminal space created by the church and by extension,

according to St. Paul, in one’s life through personal faith and good works. The liturgical journey

is an act of experiential theology that can be considered to be performance icon.

One begins the performance of the liturgy by simply entering the church at the outer

threshold of the narthex, an act symbolizing the Pauline theology of choosing the works of faith

and spirit. One then enters the nave and sits within the gaze of the icon Divine Majesty. At the

Holy Virgin Mary Coptic Orthodox Church in Los Angels, this is the largest icon and is

positioned in the dome of the Nave to be the focal point of one’s experience in the church.

(image 35)

Inside a field of stars with a choir of Cherubim and Seraphim, an eight-pointed star and a

mandorla surround the figure of the resurrected Christ. Contained in circles over each shoulders,

representing the sun and moon are his titles written in Greek/Coptic letters. Christ is presented

in his full glory with his hands and arms outstretched; a posture which identifies him as the

Pantocrator. These elements of visual grammar combine to signify the opening of a new reality,

the axis mundi between this existence and the coming of God’s Kingdom, the New Jerusalem.

Madsen-Hernandez!! ! ! ! ! ! ! ! ! 41

78 NRSE Gal 6: 16, 18; p. 1981

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image 35

At the off set four corners79 of the icon of the Divine Majesty are icons of the four

Evangelists with their respective symbols.80 Matthew, Mark, Luke, and John are depicted in the

act of recording their witness of Christ. The Evangelists were also Apostles and their presence

here reads in support of the Pauline theology of apostolic revelation and authority.

As mentioned earlier. the icon program of the iconostasis is standardized. The central five

will be found in every Coptic church – Christ Enthroned on the right of the sanctuary center, the

Theophany next the Christ Enthrone, the Holy Theotokos to the left of the sanctuary center, next

to her will be an icon of the patron saint of that specific church. Above the center entrance to the

sanctuary is the icon of the Last Supper. Churches have many of the same icons on their walls;

however, the arrangement of the icon program throughout the nave in each church is unique.

Experiencing the liturgy is meant to be a transformative multi-sensory religious encounter

with things holy and divine. It includes the interactive use of music and singing, prayer,

scripture, burning incense, and culminates in the blessing and partaking of the Eucharist. The

entire ritual takes place in the presence of a panorama of icons such as those discussed in this

paper. It is believed that the personages represented in the icons are in attendance and join in the

services of venerating and witnessing the performance of the liturgy. For example, attending

Eucharistic services at Holy Virgin Mary Coptic Church in Los Angels allows one to join with

the figures from the narratives of Transfiguration and the Accession, seen in these two story tall

stained glass window icons on the north and south walls of the nave, in a transcendent reality

where one can be a participant in the narrative of the icon and the figures from the icons are

Madsen-Hernandez!! ! ! ! ! ! ! ! ! 43

79 Points Northeast, South west, Northwest, South west

80 St Matthew, a man; St Mark,a lion, St Luke, a bull; St John, an eagle

participants in the lives of the church goer as if they were all part of the same physical reality.

(images 36 and 37)

The liturgical journey reaches its climax in the blessing and partaking of the Eucharist. In

the Coptic Orthodox church this includes making a passage into the Sanctuary. Women enter on

the south side of the Sanctuary, men on the north. Lay members do not enter the central area of

the Sanctuary where the alter sites directly in front of the Apse; however, they approach within a

few feet of center where they receive the Eucharist from the officiating Priest. The senses of taste

and touch are now made part of the liturgical journey as each individual personally meets with

and receives the glorified Christ as their savior and accepts admonition to be as St. Paul

described it crucified “to the world.”81

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81 NRSE Gal 6:16, p. 1981

image 36 image 37

The icon of the Apse is always of Jesus Christ. There some fluidity as to which icon will

occupy this space. Christ Enthroned, Christ Pantocrator, Christ Risen, Second Coming are all

appropriate to the space and purpose.82

The Apse at Holy Virgin Mary Coptic Church Los Angels, painted by Dr. Fanous,

contains the Icon of the Apocalypse; also a favored subject for the icon. The Icon of the

Apocalypse is also called the Icon of the Revelation in reference to the Book of Revelations.83

Deducing the iconology in the Icon of the Apocalypse takes on an esoteric reading

echoing the John’s deeply symbolic writing in the Book of Revelation. The multilayered visual

semiotics of an inoculated and initiated

imagination described in the first section of this

paper is fully exercised in reading the layers of

meaning-making present in this icon. (image 38)

In the eight pointed star and golden

mandorla Christ Enthroned holds the gospel in

left hand while raising his right hand in blessing.

A ring of stars surround the seated figure of

Christ, which bisects a similarly stared encircled

blue orb directly below his feet. The visual

grammar represent the sun, moon, and the stars,

with the earth as Christ’s foot stool and reads the

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82 “Bishop Serapion - “ interview

83 See book introduction in NRSE for The Revelation to John (Apocaplype); pp. 2086 - 2087

image 38

visual theology of Christ as the Creator together with the theology of Christ as the Teacher.

Symbols of the Evangelists occupy the off set compass points of the eight pointed star – the

Saints Matthew, Mark, and Luke adding their witness to the events of Saint John’s revelation. St.

John’s rich literary imagery further interprets these same symbols as the theology of Christ’s

Salvific economy, the lion as King, the calf and the Chief Priest of Sacrifice, the man as the God

Incarnate for man’s sake and the eagle as the symbol of the Spirit.

St. John’s Revelation was sent as letters to the same seven churches St. Paul wrote his

epistles to, including the Galatians. That both Apostles where providing Apostolic direction to

the same church communities further reenforces the Pauline theology of Apostolic authority and

unity. The seven churches of the early church are represented in the visual grammar of this icon

by the seven angles flying in the heaven around the radiating image of Christ, and in the seven

branched lamp below his feet. The flexibility of visual grammar, like the symbols of the

Evangelists, allows the angels and lamps to also read as references to theological and doctrinal

concepts such as the seven sacraments, the presence of the seven archangels, the seven orders of

the priesthood, the seven gifts of the spirit, and the seven seals84 and trumpets85 announcing the

Christ’s return. Arrayed below the bottom points of the eight pointed star are 24 figures resting

on clouds in the act of venerating Christ with palms, incense, and vials of perfume. These figures

are the 24 elders St. John speaks of86 and represent the 12 tribes of Israel and the 12 Apostles of

the New Testament. The visual language of billowing clouds of incense and vials of perfume

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84 NRSE Revelation chapter 6; p. 2095;

85 NRSE Revelation chapters 8 and 9; 11: 15; pp. 2098 - 2101

86 NRSE Revelation 4: 4, 10; p 2093; 5: 8, 14; p. 2095; Revelation 11: 16; 2101; 19:4; p. 2110

represent the good works and the faithful rising up to and being accepted in heaven. An exotic

interpretation of the Pauline theology of choosing to do good works and keep the moral law of

the gospel.87, 88

The liturgical journey is sealed as priests pass through the Nave with a censor and a

pitcher of holy water casting a final benediction on the congregants with incense smoke and a

sprinkling of holy water over their heads. The congregant exits the church building a living icon;

the embodiment of Paul’s challenge to the Galatians to become a “new creation” in Christ.89 The

individual as icon can be seen in the performance of act of “practical theology”.90 Michael Saad

explains an example of this practical theology in the “making the sign of the cross for a variety

of purposes: blessing the food, casting away evil thoughts, spirits, devils, anointing the sick with

sacramental oil, etc.”91 The individual now goes on with the work and activities of his/her daily

life as more then just a single human entity. He/she carries incorporated in his/her person the

liturgy and the theologies of the icons in all their forms.

Conclusion:

Icon of the Diaspora -

The steady migration of the Copts from Egypt to the West since the mid 20th century is

an unprecedented event in Egypt’s long history. Tens of thousands of civilians are leaving their

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87 NRSE 2 Cor. 2: 14 - 16; p. 1960

88 “Bishop Serapion - “ interview

89 NRSE Gal 6: 15, P. 1981

90 “Michael Saad - “ interview

91 “Michael Saad - “ interview

homeland; an exodus unlikely to slow down or reverse. Bruce Wallace, Religion Journalist for

NPR reports that [by January 2013, less then two years] since the fall of the Mubarak regime [in

Feb of 20192] the Coptic population in The United States had “grown by 30%, even more then

doubling in some areas.”93 Says Wallace, “They're leaving continued instability in Egypt —

uncertain economic prospects combined with ongoing violence.” Wallace estimates that [at the

time of his report] about ten thousand Copts per month were immigrating to the West.94 These

new immigrants join many families who now span three generations “in exile” from their

ancestral homeland; it is unlikely that they will ever return to Egypt except as visitors. Bishop

Saraoion feels that including more narratives from scripture and the Life's of the Saints in the

icon programs of the churches will give members more examples of faithful perseverance to

learn from as they navigate the day to day challenges and perplexities of their immigrant

experience.95 Escaping danger in Judea, their homeland, Jesus, Mary and Joseph fled into Egypt

under God’s direction.96 The icon narrating the visual theology of this event has always been

called “Out of Egypt I have Called by Son” in reference to the Old Testament prophecy of Hosea

11:1 that God’s compassion for his people, Israel, would call them “out of Egypt” to salvation.97;

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92 Kirkpatrick, David D. "Egypt Erupts in Jubilation as Mubarak Steps Down." New York Times. New York Times, 11 Feb. 2011.

93 Wallace, Bruce. “Amid Instability In Egypt, Coptic Christians Flee To U.S.” National Public Radio January 04, 2013, http://www.npr.org/2013/01/04/168609672/amid-instability-in-egypt-coptic-christians-flee-to-u-s Web accessed 1 Feb 2013

94 Wallace

95 “Bishop Sarapion - “ interview

96 NRSE Matt 2: 13 - 15; p. 1670. Life of Christ narrative of God sending an Angel to warn Joseph of the danger to the childʼs life and with instructions to take Mary and the Christ child and flee to Egypt

97 NRSE Hosea 11:1. p. 1205

Located in the northern arm of the nave at Holly Virgin Mary and St. Pishoy Coptic Orthodox

Church, this icon is approximately 10 feet wide and four feet high. Dr. Fanous’ composition and

the visual grammar elements he uses to visually communicate the narrative place the holy family

in an unmistakably Egyptian landscape. A village with dome roofs typical of Egyptian

architecture is in the background on the far right. In the back ground on the far left is a Pharaonic

funerary chapel with an obelisk. Two ibis in flight light off a flowing ribbon of water running

across the length lower edge of the icon. Representing the Nile river, it brings life to fish, lotus

blossoms, wheat, fig tree, and date palms--symbols of Egypt’s bounty. These are also visual

grammar elements signifying Christ metaphoric theologies such as Christ as the living water,98

the sower of the good seed.99 Guided by an angel the holy family travels along side the flowing

water. (image 39)

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98 NRSE John 4: 10 - 11. p. 1821; John 7: 38. p. 1829-1830; Revelation 7:17. p. 2097

99 NRSE Matt 13: 23 - 30, 37 - 43. p.

image 39

For many emigrating Copts the narrative of this icon contains themes resonating their

own experiences such as, threats to their safety and even their lives, the need to protect their

families by immigrating and the hope for a safer and better future in a foreign land. The aid a

guidance given to Joseph in his efforts to protect and provide for his family also symbolizes the

presence of God helping them flee the dangers in Egypt to the West - the United States and

Canada, Europe, and Australia.

In addition to the steady immigration, conversion is adding to the growth of Coptic

congregations in the Diaspora. While not an overtly missionary orientated church, the Coptic

Orthodox congregations in the West are attracting converts from all walks of life and ethic

backgrounds100, a situation not unlike that of the first century church in Galatia.

The visual language of the Neo-Coptic school founded by Dr. Fanous is more than just a

new movement in religious art and a renaissance in Orthodox iconography, it is also the

documentation of an historical sociological migration event that is reaching around the world.

St. Paul’s letter to the Galatians provided theological, doctrinal, and social direction for a

growing congregation of the early first century church. In a similar fashion, Copts are reading

into their visionary theology, the icons, the visual communication of gestures and symbols of

similar points of reference which allow them to navigate these immigration and intercultural

experiences with a Pauline theological perspective.

Madsen-Hernandez!! ! ! ! ! ! ! ! ! 50

100 I.E. During my many visits to Sunday services and weekday church activities at the several Coptic churches of the Coptic Orthodox Diocese of Los Angeles I met 14 adult non-Egyptian converts to the Coptic Orthodox Church. They reported that their initial interest ranged from meeting a Copt at work or school and coming to services out of curiosity, to being in a life crisis and stopping by one of the churches because they recognized from its architecture that it was a Christian church and would that there would likely be someone, a priest, there who would take the time to listen and provide counsel.

List of illustration and images

1. Pentecost Neo-Coptic, Isaac Fanous, 1980 Holy Virgin Mary & St Pushy 10” 14” Portable Icon. Photo credit: Magi Hernandez

2) Under direction of Ra/Horus, Set fights Apophis god of the underworld, Egyptian Book of the Dead 13th C BCE; image credit http://ferrebeekeeper.wordpress.com/tag/serpent/;

3) The youth Ra/Horus fights Apophis god of the underworld and his agents with the aid of Isis, Thoth, Re-Harakhty, and Bes Magic Stela 30th Dynasty, 4th C BCE; image credit: http://www.metmuseum.org/toah/works-of-art/50.85

4) Under direction of Christ, Arch Angel Michael fights Satan Rel. 12 v. 7-9 Early Gothic relief, France, 10th C.CE; image credit: http://en.wikipedia.org/wiki/File:Louvre_saint_michel_rf1427.jpg

5) Under direction of Christ, Arch Angel Michael fights Satan Rel. 12 v. 7-9 Russian Icon 18th C. CE; image credit: http://www.templegallery.com/main.php?mode=4&p1=1415&p2=0&p3=0

6) Map Late Antiquity Middle East and Asia, image insets of Antinoe textile fragment of Persian King Khosrow II fighting Ethiopian forces in Yemen 5th c. c.e; image credit: http://en.wikipedia.org/wiki/File:Khosrau_I_Textile.jpg; And, foreigners in the court of Ramses III Temple at Medinet Habu New Kingdom 1500 - 1100 BCE; image credit: http://www.touregypt.net/featurestories/enemies.htm

7) Dr Fanous with student; image credit: http://weekly.ahram.org.eg/2007/829/cu2.htm

8) Narmer Palette 31st C. BCE; image credit: http://xenohistorian.faithweb.com/africa/egypt1.html

9) St Michael the Archangel by Dr Fanous, Holy Virgin Mary Coptic Orthodox Church, Los Angeles, CA USA, Photo Credit: Magi Hernandez

10) St Minas Coptic Orthodox Church, Colton, Ca. USA. Architectural rendering of the front facade owned by the church and is used by permission. Exterior of northern wall of Nave, photo credit: Magi Hernandez The Colton/Riverside California Mojave desert North/east view as seen from the parking lot of the church, Photo credit: Magi Hernandez

11) Christ preaching in the temple by Dr Fanous, Holy Virgin Mary Coptic Orthodox Church Los Angeles, CA USA Photo credit: Magi Hernandez

Madsen-Hernandez!! ! ! ! ! ! ! ! ! 51

12) Stela Found in the Royal Tomb at Amarna Akhenaten, Nefertiti, Meritaten and Meketaten offer flowers to Ra/Aten, image credit: http://euler.slu.edu/~bart/egyptianhtml/kings%20and%20Queens/Nefertiti-inscriptions.html

13) Paul on the Road to Damascus, by Dr. Fanous, St. Mins Coptic Orthodox Church, Colton/riverside, CA, USA, Photo credit: Magi Hernandez

14) The Apostles St Peter and St Paul. By Dr. Fanous; St. Peter and St Paul Coptic Orthodox Church, Santa Monica, CA, USA. Photo credit: Magi Hernandez

15) The Apostle St Mark, St. Mark Orthodox Coptic Church Los Angels CA USA Photo Credit: Magi Hernandez

16) St Mark Ordains Anianus the First Bishop of Alexandria the Se of Mark by St Mark, St Peter and St Paul Coptic Orthodox Church, Los Angels, CA, USA, Photo Credit: Magi Hernandez

17) Narmer Palette 31st C. BCE, image credit: http://xenohistorian.faithweb.com/africa/egypt1.html;

18) David Slaying Goliath by Dr Fanous Holy Virgin Mary Coptic Orthodox Church Los Angeles, CA USA Photo credit: Magi Hernandez

19) Athanasius ‘tramples’ the heresy and person of Arius at the Council of Nicea, by Dr Fanous Holy Virgin Mary Coptic Orthodox Church Los Angeles, CA USA, Photo credit: Magi Hernandez

20) Mary and Martha by Dr. Fanous, Holy Virgin Mary Coptic Orthodox Church. Los Angeles, CA, USA, Photo credit: Magi Hernandez

21) Forgiving the Sinful Woman by Dr. Fanous, Holy Virgin Mary Coptic Orthodox Church, Los Angeles, CA, USA, image credit: Holy Virgin Mary Coptic Orthodox Church

22) Theophany by Dr. Fanous, Holy Virgin Mary Coptic Orthodox Church,Los Angeles, CA, USA, Photo credit: Magi Hernandez

23) The Last Supper The Institution of the Holy Eucharist. by Dr. Fanous, St Peter and St Paul Coptic Orthodox Church, Santa Monica, CA, USA, Photo credit: Magi Hernandez

24) The Burning Bush A symbol of the Theotokos, by Dr. Fanous, Holy Virgin Mary Coptic Orthodox ChurchLos Angeles, CA, USA, Photo credits: Magi Hernandez

Madsen-Hernandez!! ! ! ! ! ! ! ! ! 52

25) Presentation of Christ in the Temple, by Dr. Fanous, Holy Virgin Mary Coptic Orthodox ChurchLos Angeles, CA, USA, Photo credits: Magi Hernandez

26) The Nativity Mystery of the Incarnation, by Dr. Fanous, Holy Virgin Mary Orthodox ChurchLos Angeles, CA, USA, Photo credit: Magi Hernandez

27) The Wedding at Cana, by Dr. Fanous, Holy Virgin MaryCoptic Orthodox Church Los Angeles, CA, USA, Photo credits: Magi Hernandez

28) Feeding the Multitude, by Dr. Fanous, Holy Virgin Mary Coptic Orthodox Church Los Angeles, CA, USA, Photo credits: Magi Hernandez

29) Healing the Blind Man, by Dr. Fanous, St Peter and St Paul Coptic Orthodox Church Los Angeles, CA, USA, Photo credits: Magi Hernandez

30) St George with St Verena, by Dr. Fanous, St Peter & St Paul Coptic Orthodox Church Santa Monica, CA USA, Photo credit: Magi Hernandez

31) Mary & Christ Child with St Verena, by Dr Fanous, Office of the Diocese at St Maurice Coptic Orthodox Church, Pomona, CA USA, Photo credit: Magi Hernandez

32) Holy Family Flight to Egypt ‘Out of Egypt I have Called my Son’, Designed by Dr. Fanous written by unnamed student of Fanous, St Minas Coptic Orthodox Church, Colton/Riverside. CA, USA, Image credit; St Minas Coptic Church

33) Crucifixion, by Dr. Fanous, Holy Virgin Mary Coptic Orthodox ChurchLos Angeles, CA, USA, Photo credit: Magi Hernandez

34) Series of Icons illustrating salvific power of Christ, Far Left: Pentecost, Left: Thomas Sunday, Center: The Resurrection, Right: Descent into Hades, Far Right: The Raising of Lazarus, by Dr. Fanous, Holy Virgin Mary Coptic Orthodox Church Los Angeles, CA, USA, Photo credits: Magi Hernandez

35) Iconostasis and Dome The Devine Majesty, by Dr. Fanous, Nave of the Holy Virgin Mary, Coptic Orthodox Church Los Angeles, CA, USA, Photo credits: Magi Hernandez

36) The Ascension, Stained glass windows designed by Dr. Fanous, Nave of the Holy Virgin Mary, Coptic Orthodox Church Los Angeles, CA, USA, Photo credits: Magi Hernandez

37) The Transfiguration, Stained glass windows designed by Dr. Fanous. Nave of the Holy Virgin Mary, Coptic Orthodox Church Los Angeles, CA, USA, Photo credits: Magi Hernandez

Madsen-Hernandez!! ! ! ! ! ! ! ! ! 53

38) The Apocalypse, by Dr. Fanous, Aspe of the Holy Virgin Mary Coptic Orthodox Church Los Angeles, CA, USA, Photo credits: Holy Virgin Mary Coptic Church

39) The Holy Family in Egypt/Out of Egypt I have Called my Son, by Dr. Fanous, Holy Virgin Mary Coptic Orthodox Church Los Angeles, CA, USA, Photo credit: Magi Hernandez

Madsen-Hernandez!! ! ! ! ! ! ! ! ! 54

Works Cited

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“Bishop Serapion on Coptic Icons.” Personal interview. 15 July 2011

“Michael Saad on Coptic Icons and Culture,” Personal email interview” 30 Jan 2014

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Rene, Stephane. "Short Overview of Coptic Iconography through the Ages with Some Notes on Coptic Painting Technique." Short Overview of Coptic Iconography through the Ages with Some Notes on Coptic Painting Technique. N.p., n.d. Web. 21 June 2012

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Saad, Michael. "Coptic Civilization in the Diaspora." Coptic Civilization. Gawdat Gabra N.p.: AUC, 2014. 268. Print. (in printer)

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