LANGUAGES

Alef Bet

Alef Bet n. Hebrew (AH-lef BET) A name for the Hebrew alphabet, formed from its first two letters: alef and bet. Using the term “Alef Bet” is comparable to calling the English alphabet the “ABCs.” The alphabet consists of 22 consonants and five final letters. The 10 vowels in Hebrew, which are indicated by seven …

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ABBA

ABBA Abba is the emphatic form of the Aram. word for ‘father’ (see Dalman, Aram. Gram. p. 98, for אב and its various forms; also Maclean, in DCG, s.v.). It is found only in three passages in the NT, viz. Mk 14:36, Ro 8:15, Gal 4:6; in each case ὁ πατήρ is subjoined to Ἀββᾶ, …

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The Original Text of Holy Scripture and the Translations

The Original Text of Holy Scripture and the Translations Since Scripture is intended for the use of all Christians, of whatever station, sex, age, etc. (Deut. 6:6–9; Joshua 1:8; Is. 34:16; Neh. 8:2–8; 2 Kings 23:1–2; Luke 16:29 ff.; John 5:39; 20:31; Acts 17:11: “They searched the Scriptures daily”; 2 Thess. 2:15; 1 John 1:4; …

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Manichaeism and Gnosticism in the Panopolitan Region between Lykopolis and Nag Hammadi

Manichaeism and Gnosticism in the Panopolitan Region between Lykopolis and Nag Hammadi TO DEAL WITH the religious movements of Manichaeism and Gnosticism in the area of Sohag presents a good many problems and raises several ques­tions that will perhaps never be answered. This fact depends on our lack of evidence concerning these two strong ‘enemies’ …

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The Monastery of the Holy Virgin Mary at al-Muharraq, Mount Qusqam: History and Heritage (Reflections of Its Monks)

The Monastery of the Holy Virgin Mary at al-Muharraq, Mount Qusqam: History and Heritage (Reflections of Its Monks) Introduction[1] The history of the Coptic Orthodox Church makes no mention of any information about the monastic community or the Holy Virgin Church in the Qusqam region until the fourteenth-century ad. The name Qusqam (al-Muharraq Monastery) is …

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Icon of the Virgin Mary and Child. Achmim area provenance. Photo­graph courtesy of Gawdat Gabra..

Toward an Understanding of the ‘Akhmim Style’ Icons and Ciboria: the Indigenous and the Foreign[1]

Toward an Understanding of the ‘Akhmim Style’ Icons and Ciboria: the Indigenous and the Foreign[1] THE LATE FOURTEENTH-century painting by Gherardo Starnina, La Tebaide in Galleria degli Uffizi in Florence, provides perhaps the last medieval visu­alized memory of the (ideal) Christian sacred landscape along the Nile in Upper Egypt, densely inhabited by hermits tending their …

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