A great man is one who collects knowledge the way a bee collects honey and uses it to help people overcome the difficulties they endure - hunger, ignorance and disease!
- Nikola Tesla

Remember, remember always, that all of us, and you and I especially, are descended from immigrants and revolutionists.
- Franklin Roosevelt

While their territory has been devastated and their homes despoiled, the spirit of the Serbian people has not been broken.
- Woodrow Wilson

Divine Liturgy at the Heart of Serbian Life

The oldest and the newest Serbian book in North America is the Služebnik (Liturgy book) used lovingly by clergy for the Divine Services. One was published in 1519 in Venice and the other in 2018 in Los Angeles, California.

Тhe Služebnik was printed in Venice in 1519 by Božidar Vuković, a Serb from Montenegro became a renowned printer in Venice. This printed version of the Divine Liturgy was the first printed book in Cyrillic in history. It is of priceless value to Serbian and Slavic heritage and literature. This rare book belonged to the Very Reverend Milutin Tesla (1819–1879) who was the father of Nikola Tesla (1856–1943). When Milutin died his widow, Djuka (nee Mandić) kept the book. After her death, Nikola Tesla took the rare copy to New York with him and had it restored. This rare Book of the Serbian Liturgy is in the Harry S. Truman Library in Independence, Missouri, in the heartland and physical center of the United States. It was restored by the Truman library in 1977.

“The Sacred and Divine Liturgy оf our Father among the Saints John Chrysostom” was published in 2018 by St. Sebastian Press of the Western American Diocese in English and Serbian, and edited by Bishop Maxim Vasiljević of Western American Diocese.

Although 500 years separate these two publications, their existence witnesses to the fact that the Divine Liturgy continues to be at the heart of Serbian life and culture.


SA

 

People Directory

Bishop Firmilijan (Ocokoljić)

(1963–1992)

Te Right Reverend Dr. Firmilian, Bishop of the Serbian Orthodox Diocese of Midwestern America, was born on the Feast of the Nativity of Christ, according to the Julian Calendar, on the 7th of January 1910. Born into a clerical family in Kaona, Serbia, he was the son of many generations of priests, specifically, born in the family of the protopresbyter Uros Ocokoljich and his mother, Darinka, nee Plazinic, also the daughter of a priest. To the delight of this family, the parents were blessed with the birth of twins, named at baptism, Stanko (later, Firmilian) and Ranko. Stanko was the tenth child.

Having completed his elementary (in the place of his birth) and secondary education (Gymnasium, High School, in Čačak,) young Stanko was admitted into the Orthodox Seminary in Sarajevo, Bosnia, from where he graduated in the year 1930. After having served the Armed Forces of his country, Stanko was married to Nadežda Popović. Following their marriage, Stanko was ordained to the diaconate and then to the priesthood, being assigned as assistant to his father, protopresbyter Uroš, in the Village of Kaona. He was ordained to priesthood in 1930 by Bishop Jefrem Bojović, brother of well-known Vojvoda Petar Bojović. Tragically, within the first year of his marriage, Father Stanko lost both his wife and son, during childbirth.

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Publishing

Sailors of the Sky

A conversation with Fr. Stamatis Skliris and Fr. Marko Rupnik on contemporary Christian art

In these timely conversations led by Fr. Radovan Bigovic, many issues are introduced that enable the contemporary reader to deepen and expand his or her understanding of the role of art in the life of the Church. Here we find answers to questions on the crisis of contemporary ecclesiastical art in West and East; the impact of Impressionism, Expressionism, Cubism, Surrealism and Abstract painting on contemporary ecclesiastical painting; and a consideration of the main distrinction between iconography and secular painting. The dialogue, while resolving some doubts about the difference between iconography, religious painting, and painting in general, reconciles the requirement to obey inconographic canons with the freedom essential to artistic creativity, demonstrating that obedience to the canons is not a threat to the vitatlity of iconography. Both artists illumine the role of prayer and ascetisicm in the art of iconography. They also mention curcial differences between iconography in the Orthodox Church and in Roman Catholicism. How important thse distinctions are when exploring the relationship between contemporary theology and art! In a time when postmodern "metaphysics' revitalizes every concept, these masters still believe that, to some extent, Post-Modernism adds to the revitatiztion of Christian art, stimulating questions about "artistic inspiration" and the essential asethetic categories of Christian painting. Their exceptionally wide, yet nonetheless deep, expertise assists their not-so-everday connections between theology, ar, and modern issues concerning society: "society" taken in its broader meaning as "civilization." Finally, the entire artistic project of Stamatis and Rupnik has important ecumenical implications that aswer a genuine longing for unity in the Christian word.

The text of this 94-page soft-bound book has been translated from the Serbian by Ivana Jakovljevic, Fr. Gregory Edwards, and Andrijana Krstic. Published by Sebastian Press, Western American Diocese of the Serbian Orthodox Church, Contemporary Christian Thought Series, number 7, First Edition, ISBN: 978-0-9719505-8-0