Отче наш, research study, June 1 unrelated

Notre Père, qui es aux cieux,
Que ton nom soit sanctifié,
Que ton règne vienne,
Que ta volonté soit faite sur la terre comme au ciel.

Donne-nous aujourd'hui notre pain de ce jour.
Pardonne-nous nos offences
Comme nous pardonnons aussi à ceux qui nous ont offensés.
Et ne nous soumets pas à la tentation,
mais délivre-nous du mal,
car c'est à toi qu'appartiennent le règne,
la puissance et la gloire, aux siècles des siècles.

Amen.

Отче наш,
сущий на небесах,
да святится имя Твое,
да приидет Царствие Твое,
да будет воля Твоя и на земле, как на небе.

Хлеб наш насущный подавай нам на каждый день,
и прости нам грехи наши,
ибо и мы прощаем всякому должнику нашему,
и не введи нас в искушение,
но избавь нас от лукавого.
Аминь.

June 1 - Asked to be part of a UH study, with referral from Dr. Geyer.
May 1/June 1 - Avanti

Russian icons

Russian icons are typically paintings on wood, often small, though some in churches and monasteries may be as large as a table top. Many religious homes in Russia have icons hanging on the wall in the krasny ugol, the "red" or "beautiful" corner. There is a rich history and elaborate religious symbolism associated with icons. In Russian churches, the nave is typically separated from the sanctuary by an iconostasis (Russian ikonostás) a wall of icons.

Russians sometimes speak of an icon as having been "written," because in the Russian language (unlike English) the word pisat' means both to paint and to write. Icons are considered to be the Gospel in paint, and therefore careful attention is paid to ensure that the Gospel is faithfully and accurately conveyed.

Icons considered miraculous were said to "appear." The "appearance" (Russian: iavlenie) of an icon is its supposedly miraculous discovery. "A true icon is one that has "appeared," a gift from above, one opening the way to the Prototype and able to perform miracles" (Russian Icons, Father Vladimir Ivanov, Rizzoli Publications, 1988).

The use and making of icons entered Kievan Rus (which later became the Russian Empire) followed its converson to Orthodox Christianity in 988 AD. As a general rule, these icons strictly followed models and formulas hallowed by usage, some of which had originated in Constantinople. As time passed, the Russians widened the vocabulary of types and styles far beyond anything found elsewhere.

n the mid-1600s changes in liturgy and practice resulted in a split in the Russian Orthodox Church. The traditionalists, the persecuted "Old Ritualists" continued the traditional stylization of icons, while the State Church modified its practice. From that time icons began to be painted not only in the traditional stylized and nonrealistic mode, but also in a mixture of Russian stylization and Western European realism, and in a Western European manner very much like that of Catholic religious art of the time.