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In the fall of 2021, during field work with the aim of researching the cultural and historical heritage in the northwest of Vojvodina, in the parish church of St. Joseph, in the village of Deronje, four stained glass windows were observed, two on each side wall of the ship, which have the signature of Ivan Marinković. Given that these stained-glass windows are not described in detail, nor mentioned in the literature, nor in the internal documentation of the competent institutions for cultural heritage, this encouraged us to do a more detailed analysis of their artistic solutions and to research the workshop that produced them. The first stained glass window in the Church of St. Joseph was installed in 1913, that is, before the stained-glass windows from Ivan Marinković’s workshop were installed after the end of the First World War. This stained-glass window with the image of the Heart of Jesus is located in the apse of the church and was made by the famous Hungarian stained-glass artist Sándor Ligeti. The war and unstable political circumstances delayed the further furnishing of the church which continued in the mid-twenties of the 20th century. Considering the change of state borders, the parish in Deronje turned to the Zagreb workshop of Ivan Marinković, which operated within the borders of the newly created Kingdom of Serbs, Croats and Slovenes. Marinković’s stained glass windows are placed on the windows of the side walls of the nave according to the following arrangement: on the north wall, from the entrance towards the altar, there is a depiction of St. Joseph and a stained-glass window that represents a memorial to the First World War, with a depiction of a wounded soldier and Christ. On the south wall, from the choir towards the altar, Saint Anthony of Padua and the Heart of Mary are depicted. Based on the inscription that can be seen on the stained-glass window with the depiction of Christ and the wounded soldier, where the year 1926 is inscribed, it can be assumed that the other stained-glass windows were acquired in the same year or at approximately the same time. Two stained glass windows from the church in Deronje were reproduced in 1930 in the Catholic magazine “Obitelj” depicting the Heart of Mary and Saint Anthony of Padua, which indicates that Ivan Marinković’s workshop considered them important within its oeuvre. The final parts of this article are devoted to the workshop that made the stained-glass windows in the Deronje church. Ivan Marinković began his education in Budapest, the city where he was born in 1885, and then continued it in Switzerland, Germany and France. It is certain that the establishment of his workshop in Zagreb was announced in 1909, and that the workshop was finally established in 1910. Very soon after its establishment, Marinković’s workshop got the opportunity to work on prestigious public projects and its stained-glass windows can still be found in Zagreb, Sisak, Ozalj, Đurđevac, Široki Brijeg, Belgrade, Deronje and other cities and towns. The stained-glass windows of the parish church of St. Joseph in Deronje represent a valuable example of the applied arts, that is, the art industry from the beginning of the 20th century. Precisely because of this, and because of the state in which the church and the stained-glass windows are, this paper is also an appeal for the preservation of an important and in many respects forgotten heritage.

Orthodoxy has a long experience of cohabitation with other religions and Christian denominations. However, this experience has not always been a peaceful and easy one, especially when molded by the rise of nationalism during the second half of the 19th century and global geopolitical forces throughout the 20th century. A series of historical events, from Russia to the Middle East, from the Balkans to Central Europe, have shaped the Orthodox relationship to religious pluralism, redefining the religious landscape through movement of populations and migrations. These many conflicts and historical events have proved the multifaceted reality of Orthodoxy, from its role as a state religion, such as in Greece, and a majority religion, such as in Russia, to a minority religion with limited rights, such as in Turkey, or, more generally speaking, in the Middle East. It is in this very complex context that interfaith relations unfold, too often in a very violent and traumatic way.

After the fall of the USSR, there was a real explosion of religious construction in Ukraine. The review article presents fourteen out of nearly a thousand churches built in Ukraine in the thirty years from regaining independence until the Russian aggression (1991–2022). The selection criterion is the category of representativeness, both in terms of quality, formal, regional and denominational aspects (Uniate and Orthodox temples of the Ukrainian Church and the Church of the Moscow Patriarchate). Despite all their diversity, they have in common a certain canonicity in their approach to architectural matter. It is essentially based on the Byzantine model of a cross-dome temple, adopted in Kievan Rus. The selected examples reflect wide spectrum of forms between traditionalism and modernism, ukrainism and ru- sophilism, regionalism and universalism. Behind each choice there is a specific historical and cultural, but also political, message. Contemporary Ukrainian Orthodox churches are a new incarnation, even a manifestation, of architecture parlante.

Jeremiah Carey presents a version of panentheism which he attributes to Gregory Palamas, as well as other Greek patristic thinkers. The Greek tradition, he alleges, is more open to panentheistic metaphysics than the Latin. Palamas, for instance, hold that God's energies are participable, even if God's essence is not. Carey uses Palamas' metaphysics to sketch an account on which divine energies are the forms of created substances, and argues that it is open to Orthodox Christians to affirm that God is in all things as their formal cause. I argue that Carey's reading is premised on a superficial examination of the patristic literature. More importantly, Palamas' metaphysics is opposed to that of Carey, since Palamas' distinction aims to uphold the view that created persons are only contingent participants in God. On this, Palamas and the Latins are in complete accord. In conclusion, I propose that panentheistic metaphysics begins from a false dilemma.

Although Orthodox Christianity is one of the most ancient traditions of Christianity, it is rarely known today. One of the most important churches of this sect is the Istanbul Church. (Fener Greek Patriarchate) The purpose of this article is to give brief information about the literature on Christian Greek Orthodox theology around the Church of Istanbul in XIX. and XX century. This literature will be examined from two perspectives as periodicals and institutional structures of the Patriarchate. The journals published directly or indirectly by the Patriarchate are: : Ekklisiastiki Alithia (1880-1923), Ortodoksia (I. Period 1926-1963, II. Period 1994-), The Greek Orthodox Theological Review (1954-). In addition, the Patriarchate's annual Church Calendar (Imerologia) and The Encyclopedia of Religion and Ethics (Thriskeftiki ke İthiki Enkiklopedia) (1-12 / 1962-1968), which are regarded as an important source in Orthodox theological studies, and a few other dictionaries will be mentioned. As for the institutional structures, these will also provide information about schools, research centers, institutes and libraries that are directly or indirectly related to the Patriarchate in Istanbul. These issues are the primary sources for the studies on Orthodox theology that took place around the Patriarchate in the modern period.

Scholarly consensus holds that Coresi’s second Postil, Carte cu învățătură (1581), is largely based on Ivan Fedorov’s Zabludov Postil (1569). Pandele Olteanu’s research, however, reveals that Coresi’s Postil also incorporates other homilies, such as the Ascension Sermon by the Russian monk Cyril of Turov. This paper adds further depth to the perspective by focusing on the Palm Sunday sermon and demonstrating that it contains a fragment originally composed by Severus of Antioch, a Miaphysite archbishop whose writings were condemned in 536. Despite the severe condemnation of Severus and his works, his entire corpus was preserved in Syriac, with fragments of his Greek homilies surviving in Catenae. The 20thhomily of Severus presents an allegorical interpretation of Christ as the heavenly palm, whose topmost branches can only be reached through strenuous spiritual effort. This theological motif, preserved in Greek and later borrowed by Theophylact of Ohrid in his Commentary on the Gospel of John, was transmitted through the Slavonic Postils and gained renewed significance with the printing of the Zabludov Postil in 1569. Thanks to the editorial efforts of Lukas Hirscher – who commissioned the translation of the Zabludov Postil into Romanian and tasked Coresi with printing Carte cu învățătură – the motif of Christ as the Heavenly Palm entered the Romanian cultural context. This paper closely examines the transformations and adaptations of this motif over its thousand-year journey from its original Greek form to its Romanian version.

ABSTRACT Reconciling their simultaneous identity as legitimate members of Chinese society and the transnational Muslim Umma has been a longstanding concern for Chinese-speaking Muslims, particularly those associated with what is now known as the Hui community. Over time, this challenge prompted Chinese Muslim scholars to grapple with the demands of Islamic law within the framework of Confucian cultural and legal hegemony. Their efforts led to the development of a regionalist understanding of Islamic orthodoxy, imbued with conceptual elements borrowed from Chinese traditions but fully consistent with the core principles of Sunni Islam. These efforts are systematically expounded within the Muslim Sanzijing genre, which features Islamic versions of the so-called “Three-Character Classic,” aiming to periodically address and reconcile the emergence of potential frictions between Islam and the Chinese law. The core trajectory of their combined narrative, as it pertains to Islamic orthodoxy and its development in the aftermath of the 18th century, constitutes the focus of this study.

The Hajj icon, better known as Jerusalem, was found in the Serbian Orthodox Church treasury in Čakovo and handed over for conservation to the Provincial Institute for the Protection of Cultural Monuments in Novi Sad. The conservation procedure was carried out by four conservators-restorers, and the work lasted six months, more precisely from June to November 2023, after which the icon was returned to the Serbian Orthodox Church. Based on the inscriptions on the back of the icon and in the medallion on the front of it, the icon was brought by Hajji Georgi Manoil from a pilgrimage in 1777. The Jerusalem icon from Čakovo is arranged to form a whole in which, through complex symbolic iconography, the earth constantly meets the heavens. The icon is one of the most significant Orthodox holy relics from the second half of the XVIII century. Because of its complex iconographic features, it deserves a detailed iconographic and stylistic analysis.