#paul sect

[mayasaura]

Since we now know the new Nona short story is about Palamedes, and the only pair of characters including Palamedes in Tor's poll was Palamedes and Ianthe... I'm also betting it's their battle at the center of the mind. The one that made Palamedes respect her. And maybe it'll even give us some context for this:

[theclasharchives]

paul and joe with paul smith of subway sect before their show on september 20th 1976

[sonicandvisualsurprises]

1980

This was the first single from the second incarnation of Subway Sect, featuring Terry Chimes, the original Clash drummer, and Paul Chimes (Terry's younger brother) on bass.

Split Up The Money and Out of Touch deliver raw, urgent punk with Vic Godard’s sharp, offbeat songwriting.

[a-god-in-ruins-rises]

are there any or has there ever been any sects/denominations of christianity that were skeptical of or opposed to pauline christianity?

just the more i read about it the more hilarious/insane it is.

like...you have jesus. and you have his followers. then jesus dies. and his followers are left to preach his word and whatnot. then after years and years of doing all this work and building this jewish christian community.

then comes this dude named paul. not just any dude. but a pharisee who openly admits to having zealously and violently persecuted christians. and he's like "hey we should preach to the gentiles."

and you and all your bros (who literally knew jesus personally in the flesh and travelled with him and stuff) are like "no you have to be a jew to be a christian, sorry."

and then paul is like "actually no. i saw jesus in a vision. i think i know better. we're going to preach to the gentiles." and then he goes off and just starts sharing your little cult with all of these foreigners but a really strange version whose theology is quite different from what you understood and he writes these letters where he just says shit and people treat those letters literally like the word of god.

it just blows my mind. how did/do people buy that? he's just some nobody and all of his authority rests on his "i had a vision". and people ate that shit up. lmao.

[bionikgeek]

Unpopular Truth Time!

Christianity is NOT the religion OF Jesus Christ. Christianity is Paul’s doctrine/religion ABOUT Jesus Christ.

[dustedmagazine]

Listed: Violin Sect

Photo credit: Steve Jinks

Formed in 1980 and disbanded in 1981, the obscure Welsh post-punk band Violin Sect left behind just one seven-inch, “Highdays and Holidays/Rivals,” documenting their brief existence. In fact, they’ve flown so low on the radar since then that they were even overlooked for the Messthetics compilations, the CD series that brought the sounds of the many forgotten and amusingly-named UK DIY bands of their time and ilk to a (relatively) wider audience. This started to change in 2019, however, when Sect bassist Steve Walker posted a couple of previously unreleased songs that he’d dug up to Soundcloud, where Minimum Stacks label head Joe Piccirillo heard them as his label was just getting off the ground. Fast forward to 2023 and we have the Vile Insect 12-inch, featuring all four songs from the band’s short life transferred from the original ¼" tapes. The result, to Andrew Forrell of Dusted’s ears, is a mix of “dubby rhythms, scratchy post-punk guitar, whimsy and skepticism,” able to stand with Scritti Politti’s “Skank Bloc Bologna” and Swell Maps “Read About Seymour.” And thanks to this release, it’s finally in a position to reach the audience it deserves.

Although Walker’s bandmates — Steve Jinks (guitar), Phil Rimmell (drums) and Hywel Pontin (percussion and backing vocals) — were unavailable to take part, Walker has assembled a list of some of his favorite music, art and literature from his 67 years on earth for Dusted. “A snapshot within a snapshot,” if you will.

The Raincoats

I was lucky enough to catch a London gig by the Raincoats in 1979 around the time they released their first single. This year Gina Birch (bass/vocals), also 67, has released her first solo album, I Play My Bass Loud, and it’s been worth the wait. Here’s an early one from the first Raincoats LP, though.

Mica Levi — “Lips”

I got the same sort of excitement when I first heard Mica Levi, together with their bandmates in Micachu and the Shapes. Their work has continued to grow and encompasses other genres such as film soundtracks (e.g., Jackie).

Sufjan Stevens — “Video Game”

I first became aware of Sufjan Stevens with the release of Illinois and caught him at the end of his UK tour promoting it at King’s College London with a pared-down (although still with those wondrous wings) extra gig. In later years he was in Bristol on the Carrie & Lowell tour. Sublime. Here’s a later track with fabulous dancing.

Saul Leiter — In No Great Hurry: 13 Lessons in Life

I’ve spent a lifetime as a specialist nurse supporting individuals with intellectual disabilities to maintain and develop their independence together with practicing as a part time psychotherapist for the general public, within the UK’s National Health Service. During this time, I’ve drawn, painted, made music but mainly taken photos (since I was a kid with a darkroom). Maybe there’ll be an exhibition of my own one day but, like Saul Leiter, I’m used to “postponing things and seeing no reason to be in a rush.” For me, his exhibitions and photobooks have a magical quality that validate and inspire all at the same time.

Ivor Cutler

Ivor Cutler always had my heart but here’s an epic that didn’t feature on his own albums.

Angeline Morrison — The Sorrow Songs: Folk Songs of Black British Experience

In 2022 Angeline Morrison released an astonishing album… I’m afraid that I can’t stop myself recommending it to people! If you get a chance…

Paul Wright — Arcadia

Arcadia is a short film that explores Britain’s relationship with the earth, its secret pasts, hidden histories and collective amnesia using old film and TV footage in an exhilarating fashion.

Wet Leg — “Chaise Longue,” live at the BRIT Awards, 2023

A performance from the here and now, incorporating the past with the present in a truly WTF moment at the Brits!

Gretchen Gerzina — Black England

Books… so many books! So, here’s what I’m currently reading.

Anthony Gormley — Another Place

Finally… if ever in Liverpool, visit Crosby Beach and experience Antony Gormley’s sculpture. It consists of 100 cast iron figures facing towards the sea, (gradually becoming encrusted with barnacles, etc.) all modeled on Gormley’s own naked body.

[spilladabalia]

Subway Sect - Nobody's Scared

[shakir2]

Critical analysis of Christianity and Islam 

Food for Thought. Shakir Mumtaz. A fallacy believed by Christians and Muslims alike is that Jesus died on the cross in AD 30-33; Christians believe that Jesus had resurrected, but Muslims believe that he will return before the end of time. None of these

[Distortions in Christianity and Islam]  Hanifism, Sabianism, Judaism, Christianity, and Islam are developmental or evolutionary stages of monotheism. Before Islam, prophet Muhammad, Qura’an, all the religions, Prophets, and scriptures were provisional for a specific people. Qura’an testifies that these religions and their scriptures changed, and except for Holy Qura’an no scripture is extant in…

[scripture-pictures]

[faithingodministries]

God See And Know Us

9 What then? Are we worse off than they? In no way: because we have before made it clear that Jews as well as Greeks are all under the power of sin; 10 As it is said in the holy writings, there is not one who does righteousness; 11 Not one who has the knowledge of what is right, not one who is a searcher after God; 12 They have all gone out of the way, there is no profit in any of them; there is…

[nerdygaymormon]

In response to the August 2024 updates to General Handbook: Serving in The Church of Jesus Christ of Latter-day Saints, the Executive Committee of Affirmation: LGBTQ Mormons, Families & Friends released the following statement:

We mourn with our transgender siblings as we wrestle with the painful impact of recent policy changes and guidelines released by The Church of Jesus Christ of Latter-day Saints. With over 45 years of providing support to LGBTQIA+ individuals who are current and former members of the Church, we know first-hand the pain that policies like this cause. We stand with our transgender siblings.

Rather than seek to better understand, include, and affirm transgender individuals who are also Latter-day Saints, leaders of the Church have opted to further restrict these members’ ability to participate. While these changes specifically impact individuals who have socially or medically transitioned, all are affected by the messages conveyed in these policies, which reject authentic experience and identity.

Prior to these updates, transgender members of the Church could expect their gender identities to be respected through the use of their chosen names, to participate in church meetings aligning with their gender identities, and to have some opportunities to be called to serve within the Church. The recent updates reduce the hope that the gender identities of transgender members will be respected, prohibit transgender members from church meetings aligning with their gender identities, restrict access to restrooms, and explicitly prohibit transgender members from serving in the Church as teachers or working with children.

Further, church policy now includes language that encourages detransitioning as the only pathway to reinstate full membership within the Church.

The Ninth Article of Faith of the Church states that “We believe all that God has revealed, all that He does now reveal, and we believe that He will yet reveal many great and important things pertaining to the Kingdom of God.” Modern revelation is a foundational belief of the Church. The claim of prophecy received today from the Lord’s anointed sets the Church apart from most Christian sects. However, in our view, the treatment of transgender individuals by those who claim the mantle of prophecy indicates that they, like Paul of old, “see through a glass, darkly” in this area. In that lack of clarity, leaders of the Church are co-opting ideologies of the world in promoting views of gender being restricted to that assigned at birth and in encouraging detransitioning.

We hope that God will yet reveal better for our transgender siblings.

Until then, Affirmation: LGBTQ Mormons, Families & Friends remains committed to creating worldwide communities of safety, love, and hope, fully inclusive and affirming of all sexual orientations, gender identities, beliefs, and relationships with the Church. We love you. We are here for you.

Fred Bowers, President Joel McDonald, Senior Vice President David Doyle, Vice President

[whencyclopedia]

Interview: Medieval Christian Art in the Levant

Medievalists retain misconceptions and myths about Oriental Christians. Indeed, the fact that the Middle East is the birthplace of Christianity is an afterthought for many. During the Middle Ages, Christians from different creeds and confessions lived in present-day Lebanon, Syria, Israel, and Palestine. Here, they constructed churches, monasteries, nunneries, and seminaries, which retain timeless artistic treasures and cultural riches.

James Blake Wiener speaks to Dr Mat Immerzee to clarify and contextualize the artistic and cultural heritage of medieval Christians who resided in what is now the Levant.

Dr Immerzee is a retired Assistant Professor at Universiteit Leiden and Director of the Paul van Moorsel Centre for Christian Art and Culture in the Middle East at Vrije Universiteit Amsterdam.

Saint Bacchus Fresco

James Gordon (CC BY)

JBW: ​​The largest Christian community in what is present-day Lebanon is that of the Maronite Christians – they trace their origins to the 4th-century Syrian hermit, St. Maron (d. 410). The Maronite Church is an Eastern Catholic Syriac Church, using the Antiochian Rite, which has been in communion with Rome since 1182. Nonetheless, Maronites have kept their own unique traditions and practices.

What do you think differentiates medieval Maronite art and architecture from other Christian sects in the Levant? Due to a large degree of contact with traders and crusaders from Western Europe, I would suspect that we see “Western” influence reflected in Maronite edifices, mosaics, frescoes, and so forth.

MI: Especially in the 13th century, the oriental Christian communities enjoyed an impressive cultural flourishing which came to expression in the embellishment of churches with wall paintings, icons, sculpture, and woodwork and the production of illustrated manuscripts, but what remains today differs from on one community or region to another. In Lebanon, several dozens of decorated Maronite and Greek Orthodox churches are encountered in mountain villages and small towns in the vicinity of Jbeil (Byblos), Tripoli, the Qadisha Valley, and by exception in Beirut, but only a few still preserve substantial parts of their medieval decoration programs. Most churches fell into decay after the Christian cultural downfall in the early 14th century when the pressure to convert became stronger. While many church buildings were left in the state they were, others were renovated in the Ottoman period or more recently.

Christian Pilgrimage in the Middle Ages, c. 1000

Simeon Netchev (CC BY-NC-ND)

Remarkably Oriental Christian art displays broad uniformity with some regional and denominational differences. Cut off from the East Roman (Byzantine) Empire after the Arab conquest, it also escaped from the Byzantine iconoclastic movement (726-843 CE), which allowed the Middle Eastern Christians to develop their artistic legacy in their own way. An appealing subject is the introduction of warrior saints on horseback such as George and Theodore from about the 8th century. The West and the Byzantine Empire had to wait until the Crusader era to pick up this oriental motif and make it a worldwide success. But the borrowing was mutual. Mounted saints painted in Maronite, Melkite (Greek Orthodox), and Syriac Orthodox churches would increasingly be equipped with a chain coat and rendered with their feet in a forward thrust position, a battle technique developed within Norman military circles. Moreover, the Syrian equestrian saints Sergius and Bacchus were rendered holding a crossed ‘crusader’ banner, an attribute usually associated with Saint George, as if they were Crusader knights. Apart from these examples, there is little evidence of Oriental susceptibility to typically Latin subjects. We find Saint Lawrence of Rome represented in the Greek Orthodox Monastery of Our Lady near Kaftun, but this is exceptional.

Normally, one cannot tell from wall paintings in Lebanon to which community the church in question belonged. They all represented the same subjects and saints whose names are written in Greek and/or Syriac and may have recruited painters from the same artistic circles. Regarding architecture, the last word has not been said on this matter, because the documentation of medieval Lebanese church architecture is still in progress. Nevertheless, the build of some churches undeniably displays Western architectural influences; for example, the Maronite Church of Saint Sabas in Eddé al-Batrun is even plainly Romanesque in style.

JBW: Following my last question, is it then correct to assume that the Crusader lands – Edessa, Antioch, Tripoli, and Jerusalem – were quite receptive to Eastern Christian styles?

MI: That is difficult to tell because there is next to nothing left in the former County of Edessa and the Principality of Antioch. We do have some decorated churches in the former Kingdom of Jerusalem (Abu Gosh, Bethlehem), and here we see a strong focus on Byzantine craftsmanship and Latin usage. Apart from the preserved church embellishment in the Lebanese mountains, there are some fascinating, stylistically and thematically comparable instances across the border with Syria.

Saint Peter in Sinai

Wikipedia (Public Domain)

Although situated within Muslim territory, the Qalamun District between Damascus and Homs stands out for its well-established Greek Orthodox and Syriac Orthodox populations; and from the 18th century onwards, also Greek Catholics and Syrian Catholics. Interestingly, stylistic characteristics confirm that indigenous Syrian painters were also involved in the decoration inside Crusader fortresses such as Crac des Chevaliers and Margat Castle in Syria. It was obviously easier to contract local manpower than to find specialists in Europe.

JBW: The Byzantine Empire exuded tremendous political, cultural, and religious sway across the Levant throughout the Middle Ages; a sizable chunk of the Christian population in both Syria and Lebanon still adheres to the rituals of the Greek Orthodox Church even today.

MI: Leaving aside the cultural foundations laid before the Arab conquest, the contemporary Byzantine influences can hardly be overlooked. In the 12th and 13th centuries, itinerating Byzantine-trained painters worked on behalf of any well-paying client within Frankish and Muslim territory, from Cairo to Tabriz, irrespective of their denominational background. This partly explains the introduction of some ‘fashionable’ Byzantine subjects and the Byzantine brushwork of several mural paintings and icons. Made in the 1160s, the Byzantine-style mosaics in the Church of the Nativity at Bethlehem are believed to be the result of Latin-Byzantine cooperation at the highest levels; they exhale the propagandistic message of Christian unity. In 1204, however, the Crusaders would conquer Constantinople and substantial parts of the Byzantine Empire. The Venetians brought the bounty to Venice, and, surprisingly, also to Alexandria with the consent of the sultan in Cairo, intending to sell the objects in the Middle East. So much for Christian unity…

The Eastern Greek Orthodox Church has its roots in the Chalcedonian dispute about the human and divine nature of Christ in 451, which resulted in the dogmatic breakdown of the Byzantine Church into pro- and anti-Chalcedonian factions. Like the Maronites, the Melkites (‘royalists’) remained faithful to the former, official Byzantine standpoint, except for their oriental patriarchs in Antioch, Alexandria, and Jerusalem were officially allowed autonomy without direct interference from Constantinople. On the other hand, the Syriac Orthodox became dogmatically affiliated with the identically ‘Miaphysite’ Coptic, Ethiopian, and Armenian Churches. To complicate matters even more, part of the Greek Orthodox and Syriac Orthodox communities joined the Church of Rome in the 18th century. This resulted in the establishment of the Greek Catholic and Syriac Catholic Churches.

The Church of Nativity, Bethlehem

Konrad von Grünenberg (Public Domain)

JBW: Could you tell us a little bit more with regard to the Syriac Orthodox Church? If I’m not mistaken, there was a flourishing of the building of churches and monasteries by Syriac Orthodox communities once they fell under Muslim rule around 640.

MI: As a Miaphysite community, the Syriac Orthodox enjoyed the same protected status as other non-Muslim communities under Muslim rule. This allowed them to establish an independent Church hierarchy headed by their patriarch who nominally resided in Antioch, which covered large areas in Iran, Iraq, Turkey, and Syria. Some of their oldest churches, with architectural sculpture and occasionally a mosaic, are situated in the Tur Abdin region in Southeast Turkey. Remarkably, around the year 800, a group of monks from the city of Takrit (present-day Tikrit in Iraq) migrated to Egypt to establish a Syriac ‘colony’ within the Coptic monastic community. Their ‘Monastery of the Syrians’ (Deir al-Surian) still exists and is one of Middle Eastern Christianity’s key monuments for its architecture, wall paintings, icons, wood- and plasterwork ranging in date from the 7th to the 13th centuries. The monastery also houses an extensive manuscript collection. Another decorated monastery is the Monastery of St Moses (Deir Mar Musa; presently Syriac Catholic) near Nebk to the north of Damascus, where paintings from the 11th and 13th-centuries can still be seen. The Monastery of St Behnam (Deir Mar Behnam; presently Syriac Catholic) near Mosul is reputed for its 13th-century architectural sculpture and unique stucco relief, but unfortunately, a lot has been destroyed by ISIS warriors.

The Syriac Orthodox presence in Lebanon remained limited to a church dedicated to Saint Behnam in Tripoli, and the temporary use of a Maronite church dedicated to St Theodore at the village of Bahdeidat by refugees from the East who were on the run from the Mongols during the 1250s. This church still displays its complete decoration program from this period. It is impossible to tell which community arranged the refurbishment, but the addition of a donor figure in Western dress testifies to support from a (probably) local Frankish lord. Finally, the Syriac Orthodox also excelled in manuscript illumination, examples of which can be found in Western collections and the patriarchal library near Damascus.

JBW: As the Lebanese and Syrian Greek Orthodox Churches had fewer dealings with Western Europeans than the Maronite Church, does medieval Christian Orthodox art in Lebanon and Syria reflect and maintain the designs and styles of medieval Byzantium? If so, in what ways, and where do we see deviation or innovation?

MI: As I said before, Byzantine-trained artists have been surprisingly active in the Frankish states and beyond, especially during the 13th century. I prefer to label them as “Byzantine-trained” instead of “Byzantine,” because it is not always clear where they came from. To mention an example, painters from Cyprus still worked in the Byzantine artistic tradition but no longer fell under the authority of the emperor after the Crusader conquest of the island in 1291. Culturally they were still fully Byzantine, but, speaking in modern terms, they would have had the Frankish-Cypriot nationality. The little we can say from the preserved paintings is that some Cypriot artists traveled to the Levant in the aftermath of the power change in search of new clientele. It is unknown if they stayed or returned after the accomplishment of their tasks, but around the mid-13th century we see the birth of a ‘Syrian-Cypriot’ style which combines Byzantine painting techniques with typically Syrian formal features and designs; for example, in the afore-mentioned Monastery at Kaftun in Lebanon. Typically, instances of this blended art are not only encountered in Lebanon and Syria but also in Cyprus.

The Virgin and Child Mosaic, Hagia Sophia

Hagia Sophia Research Team (CC BY-NC-SA)

Focusing on the shared elements in Oriental Christian and Byzantine art, the example of apse decorations illustrates the resemblances and often also subtle differences. From the Early Christian period, the common composition in the apse behind the altar consisted of the mystical appearance of Christ (Christ in Glory) between the Four Living Creatures in the conch and the Virgin between saints, such as the apostles and Church fathers, in the lower zone. However, an early variant encountered in Egypt renders the biblical Vision of Ezekiel: here, Christ in Glory is placed on the fiery chariot the prophet saw. Recent research has brought to light that this variant was also applied in Syriac Orthodox churches in Turkey and Iraq as late as the 13th century. Medieval oriental conch paintings often combine Christ in Glory with the Deesis, that is, the Virgin and St John the Baptist pleading in favour of mankind. Whereas the Byzantines kept these subjects separated, the ‘Deesis-Vision’ is encountered from Egypt to Armenia and Georgia in churches of all denominations

JBW: One cannot discuss medieval Christian art in the Near East without making some mention of Armenians and Georgians. The first recorded Armenian pilgrimage occurred in the early 4th century, and Armenian Cilicia (1080-1375) flourished at the time of the Crusades. During the reign of Queen Tamar (r. 1184-1213), Georgia assumed the traditional role of the Byzantine crown as a protector of the Christians of the Middle East. Armenians and Georgians intermarried not only with one another but also with Byzantines and Crusaders.

Where is the medieval Armenian and Georgian presence the strongest in the Levant? Is it discernible?

Tomb of Saint Hripsime in Armenia

James Blake Wiener (CC BY-NC-SA)

MI: Medieval Armenian and Georgian art can be found in their homelands, but there are also surviving works testifying to their presence in the Levant and Egypt. Starting with the Armenians, they have always lived in groups dispersed throughout the Middle East, whereas in Jerusalem they have their own quarter. A 13th-century wooden door with typically Armenian ornamentation and inscriptions in the Church of the Nativity in Bethlehem testify to the interest Armenians took in the Holy Land. Further to the south, a 12th-century mural painting with Armenian inscriptions in the White Monastery near Sohag reminds us of the strong Armenian presence in Egypt under Fatimid rule during the 11th to 12th centuries. They had arrived in the wake of the rise of power of the Muslim Armenian warlord and later Vizir Badr al-Jamali, who seized all power in the Fatimid realm during the 1070s. He not only brought his own army consisting of Christian and Muslim Armenians but also made Egypt a safe home for Armenians from more troubled areas.

The Christian Armenians had their own monastery and used a number of churches in Egypt. However, these were appropriated by the Copts at the downfall of Fatimid power and the subsequent expulsion of all Armenians during the 1160s. The Armenian catholicos or head of Egypt is known to have left for Jerusalem taking with him all the church treasures.

At the White Monastery, a mural was made by an artist named Theodore originating from a village in Southeastern Turkey on behalf of Armenian miners who were apparently allowed to use the monastery’s church. It is hard to believe that Theodore came all the way to accomplish just one task in this remote place. There can be no doubt that he decorated more Armenian churches during his stay in Egypt, but the Copts thoroughly wiped out all remaining traces of their previous owners.

The Georgian presence was limited to Jerusalem, where they owned the Monastery of the Holy Cross until it was taken over by the Greek Orthodox in the 17th century. In the monastery’s church, a series of 14th-century paintings with Georgian inscriptions are a reminder of this period. In addition, an icon representing St George and scenes of his life painted during the early 13th century, and kept in the Monastery of Saint Catherine in the Sinai, was a gift from a Georgian monk, who is himself depicted prostrating at the saint’s feet.

St. Catherine's Monastery, Sinai

Marc!D (CC BY-NC-ND)

JBW: Because we touched upon the incorporation of outside artistic influences coming from Western Europe and Byzantium to the Levant, I wondered if you might offer a final comment or two on those architectural or artistic influences coming from the Arab World or even the wider Islamic world.

To what extent did Levantine Christians – who often lived near their Muslim neighbors – adopt or assimilate Islamic styles of art and architecture?

MI: The earliest examples of Islamic art from the Umayyad era display strong influences of Late Antiquity, which in turn had also been the source of inspiration to early Christian art. Over the course of time, these artistic relatives would gradually grow apart to meet again on specific occasions. The earliest example of Islamic-inspired Christian art is the purely ornamental stucco reliefs in the Monastery of the Syrians in Egypt. Constructed during the early 10th century by the Abbot Moses of Nisibis. Its plastered altar room exudes the same atmosphere as houses in the 9th-century Abbasid capital of Samarra and the similarly decorated Mosque of Ibn Tulun (an Abbasid prince who came to Egypt as its governor) in Cairo.

The Mosque of Ibn Tulun, Cairo Egypt

Berthold Werner (CC BY)

The decoration of Fatimid-era sanctuary screens in Coptic churches and woodwork from Egyptian Islamic, Jewish, and secular contexts are fully interchangeable; likewise, 13th-century architectural sculpture, manuscript illustrations, and metalwork from the Mosul area display the same shared stylistic and iconographic artistic language. Broadly speaking, we are obviously dealing with craftsmen working on behalf of different parties at the local level regardless of their religious backgrounds. Occasionally, one comes across ‘Islamic’ ornaments in wall paintings, but the overall impression is that Christian painting was subject to blatant conservatism when compared to more fashionable, ‘neutral’ items of interior decoration. The only Arabic inscriptions found in mural paintings concern texts commemorating building or refurbishment activities, or graffiti left by visitors. There obviously was a difference in status between the vernacular spoken language and the Church’s Greek and Syriac.

JBW: Dr. Mat Immerzeel, thanks so much for your time and consideration.

MI: You are welcome; it is my pleasure to contribute to your magazine.

Mat Immerzeel has been active in the Middle East since 1989, first in Egypt, then in Syria and Lebanon, and recently in Cyprus. His main field of study is the material culture of Oriental Christian communities from the 3rd century to the present. In particular, he studies wall paintings, icons, stone and plaster sculpture, woodwork, and manuscript illustrations. He has participated in research projects focusing on the formation of religious communal identity, the training of local collection curators, and restoration and documentation campaigns. He is the Director of the Paul van Moorsel Centre for Christian Art and Culture in the Middle East and editor-in-chief of the journal Eastern Christian Art (ECA) published by Peeters Publishers in Leuven, the Netherlands.

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[punkrockhistory]

48 years ago

Paul Simonon and Joe Strummer of The Clash with Paul Smith of the Subway Sect at The 100 Club Punk Festival, London, September 20th & 21st, 1976

[sethshead]

Annual reminder that Jesus was not Palestinian and that Palestine as legally defined region did not exist at that time, nor did the Palestinian nation. This is empirically documented fact. Jesus was born a Jew and died a Jew in Roman Judea. If “Palestine” was used in some Greek texts to describe the region it was because of the Philistines (who aren’t Arab in origin) having lived here once. I’m now hearing people saying Christianity is Palestinian in origin. This is also sheer idiocy. Even if we allow for the fact that Jesus isn’t the progenitor of Christianity (again he died a Jew, his followers were all Jewish and they defined themselves as a sect of Judaism, not a new religion) and attribute the foundation to Paul and people of his generation, which I would say is true. Paul was born a Jew in Roman Judea and died 70 years before the region was renamed Palestine. Jesus and the founding of Christianity has everything to do with the Jews and zero to do with Palestine and Palestinians. And it goes without saying they have nothing to do with Arabs and Islam, except insofar as Islam tells it story with Jesus (and for that matter Judaism) being part of its origin story, which did not happen until the 600s. I will also point out that those western activists (historically clueless) who are making this claim are actually doing a great disservice to the Palestinian people. Why? Because they are inventing ancient Palestinian history that is easily refutable by fact, as I have just done. Given how easy it is to undermine such claims, when people who don’t know much about the region (but joined the river to the sea crowd because that’s what the cool kids do) learn the truth they will become skeptical about other claims made by Palestinians, some of which are true, some of which deserve acknowledgment. But the American left doesn’t care. They don’t actually care about the Palestinians. They are driven by Jew-hatred, and Zionism is the most convenient demon in their social justice arsenal. They will never help free Palestine. But what they will continue to do is endanger diaspora Jewry, which is their goal, or at least a means to their end. Such was also the case with the Arab regimes who opposed a Jewish state from the very beginning. They weren’t advocating for Palestinians, they were advocating for non Jewish state anywhere min the region. The left has constructed a binary opposition that undergirds their theology that pits the evil oppressive (((Zionists))) against the eternally oppressed Palestinians. Their construct is false, an eschatological theology and nothing else, with both “Zionists” and “Palestinians” being little more than constructs they have thrown together to advance their revolutionary (and profoundly anti-Western) agenda. But if they want to claim Palestinians as the progenitors of Christianity then, well, let me point out, that “Christianity” persecuted the Jews severely at least until the early modern era and in some parts of Europe far beyond that time, culminating in The Holocaust. So sure, you want to claim Jesus for Palestine, then you also acquire all the baggage that comes with him.

-- Jarrod Tanny

It’s all just another form of supersession.

[gatheringbones]

[“Asked which side he supported, one peasant from a village close to Saigon told a Front cadre in 1963: “I do not know, for I follow the will of Heaven. If I do what you say, then the Diem side will arrest me; if I say things against you, then you will arrest me, so I would rather carry both burdens on my shoulders and stand in the middle.” Caught between two competing regimes, the peasant did not assert his right to decide between them, rather he asked himself where his duty lay. Which regime had the power to claim his loyalty? Which would be the most likely to restore peace and harmony to his world? His decision might be based on personal preference (a government that considered the wishes of the people would be more likely to restore peace on a permanent basis). But he had, nonetheless, to make an objective analysis of the situation and take his gamble, for his first loyalty lay neither with the Diem regime nor the NLF but with the will of Heaven that controlled them both. At certain periods attentisme was the most moral and the most practical course.

As a warning to Westerners on the difficulties of understanding the twentieth-century conflict in Vietnam, Paul Mus told an ancient Chinese legend that is well known to the Vietnamese. There was trouble in the state of Lu, and the reigning monarch called in Confucius to ask for his help. When he arrived at the court, the Master went to a public place and took a seat in the correct way, facing south, and all the trouble disappeared.

The works of Vo Nguyen Giap are but addenda to this legend, for the legend is the paradigm of revolution in Vietnam. To the Vietnamese it is clear from the story that Confucius was not taking an existential or exemplary position, he was actually changing the situation. Possessed of neither godlike nor prophetic authority, he moved an entire kingdom by virtue of his sensitivity to the will of Heaven as reflected in the “eyes and ears of the people.” As executor for the people, he clarified their wishes and signaled the coming — or the return — of the Way that would bring harmony to the kingdom. For the Hoa Hao and the Cao Dai, the traditionalist sects of the south that in the twentieth century still believed in this magical “sympathy” of heaven and earth, political change did not depend entirely on human effort. Even the leaders of the sects believed that if they, like Confucius, had taken “the correct position,” the position that accorded with the will of Heaven, all Vietnamese would eventually adopt the same Way, the same political system that they had come to.

Here, within the old spiritualist language, lies a clue as to why the Vietnamese Communists held their military commanders in strict subordination to the political cadres. Within the domestic conflict military victories were not only less important than political victories, but they were strictly meaningless except as reflections of the political realities. For the Communists, as for all the other political groups, the vehicle of political change was not the war, the pitch of force against force, but the struggle, the attempt to make manifest that their Way was the only true or “natural” one for all Vietnamese. Its aim was to demonstrate that, in the old language, the Mandate of Heaven had changed and the new order had already replaced the old in all but title.

When Ho Chi Minh entered Hanoi in August 1945, he made much the same kind of gesture as Confucius had made in facing south when he said (and the wording is significant, for he was using a language of both East and West), “We, members of the Provisional Government of the Democratic Republic of Viet-Nam solemnly declare to the world that Viet-Nam has the right to be a free and independent country — and in fact it is so already. The entire Vietnamese people are determined to mobilize all their physical and mental strength, to sacrifice their lives and property in order to safeguard their independence and liberty.” His claims were far from “true” at the time, but they constituted the truth in potential — if he, like Confucius, had taken the “correct position.” For the Confucians, of course, the “correct position” was that which accorded with the will of Heaven and the practice of the sacred ancestors. For Ho Chi Minh the “correct position” was that which accorded with the laws of history and the present and future judgment of the Vietnamese people.”]

frances fitzgerald, from fire in the lake: the vietnamese and the americans in vietnam, 1972

[furordinaricvs]

Church of St Peter and Paul on outskirts of Novi Pazar, Serbia.

Oldest church in Serbia with original parts dating to 4th century and additional parts of church from 6th, 7th and 9th century. During medieval times it served as baptismal church of Serbian Nemanjić dynasty.

Architectural style resembles that of early churches in Armenia, Georgia and Italy. Some important events connected with this church is baptism of Stefan Nemanja (Serbia's Grand Prince), Council against the Bogomils (Christian sect) and transfer of his rule to his son, Stefan Nemanjić.