Seventeen centuries after the martyrdom of Egypt's top saint, Mar Mina, artists gathered in an ancient church to honour his memory and prove that the tradition of icons is still going strong, says Nader Habib When someone dies, it is common for the family to print his or her picture, enlarge it, and hang it in a visible spot in the house. The photo keeps the memory alive, honours the dead and consoles the living. The ancients did the same thing, with variations. Ancient Egyptians painted the faces of the dead on their coffins. The Copts hung the portraits in their homes and churches, and called them icons. Icons remind the faithful of the saints and martyrs who stood up for their religion in the worst days of persecution, especially under the Emperor Diocletian (reigned 284-311). So harsh was the punishment inflicted by this particular emperor that Egyptian Copts start their calendar, also known as the Calendar of Martyrs, on the year Diocletian began his rule. One of the favourite martyrs of the Coptic Church is Mar Mina, also known as Saint Menas, Agaybi (miracle worker), protector of Mareotis (Mariout) and guardian of Coptic Christians. The Mar Mina Church in Fom Al-Khalig, just north of the aqueduct in Old Cairo, has organised the Exhibition of Coptic Arts in honour of Mar Mina's martyrdom 17 centuries ago. The Papal Deputy Anba Selwanes co-opened the exhibition a few days ago with Samir Gharib, head of the National Organisation for Urban Harmony. Gharib was impressed with the icons that, according to him, tell of the authenticity of Coptic art especially the fine lines that distinguish this form of art from any other. "We Copts love art and appreciate antiquities, especially those related to our churches in Old Cairo. We have grown up here, among all these relics. So we loved them, read about them. We encourage people to study their history and write about our heritage and also about the monasteries that exist in the desert and various parts of Egypt," Anba Selwanes said. Exhibitions dedicated to Coptic relics shed much light on Egypt's history, Anba Selwanes pointed out. He added that Coptic history was an integral part of the country's history. "It is necessary to start talking about the importance of Coptic history in schools and to give it the right emphasis, because we are part of this country," he told his audience. "Coptic history is the link between two major historical phases, the Roman and the Islamic. In our monasteries and churches you see Roman as well as Islamic influences." The Society for the Lovers of Coptic Heritage (SLCH) was formed 12 years ago to promote knowledge of the nation's Coptic heritage. SLCH members helped in putting together the exhibition. SLCH Chairman Sami Labib Mitri said that the Mar Mina festivities were of particular importance to the society. "Mar Mina is the best known Egyptian martyr, and this is why he matters so much. We have collaborated with all other organisations, whether scientific or clerical, to produce this big celebration," he said. The Coptic Studies Institute, the Mar Mina Society for Coptic Study, and the Mar Mina Monastery have all taken part in this year's celebrations. The festivities opened with a tribute from the SLCH to Pope Shenouda III acknowledging his efforts over the past 38 years to promote Coptic Heritage. "Many Egyptian Muslim and Christian artists, nearly 60 of them, have joined our society. We try to spread knowledge of Coptic art, with all its rich meanings and ideas. We organise art exhibitions regularly, including an annual one at the exhibition hall of Al-Ahram in Galaa Street. But this exhibition is exceptional, because it is held inside the Mar Mina Church. It is wonderful to have such an old church as a venue," Mitri said. The show is held in the section of the church that was once called the haramlek, or the women's zone. This is a balcony overlooking the main hall of the church. There was a time when women were not allowed to attend the service downstairs and had to go up to the balcony so that the men would not see them. The Mar Mina Church is a favourite among visitors to Cairo. "Last year, the Scientific Society for Coptic Studies organised its conference, as it does every four years, and the scholars who came had time to visit only one church, and they chose this particular church," Mitri said. Sixteen modern artists, differing in style as well as the material they use, displayed their work. Evelyn Adel chose to adopt the style of Izak Fanus, a modern painter of icons with wide following in Egypt and the Western hemisphere. Shenouda and Michael Esmat went for the Italian style. Morqos Faris used a hot iron to produce drawings on leather, while Mary Mansour offered a totally new way of presentation. In his book Church: House of God, Priest Tadros Yaaqub Malti writes that although icons may be used to cover churches wall to wall, they are not there for ornamentation or for display of specific cultures, but for an educational and spiritual purpose. "Writing and sermons are verbal icons, while icons are painted sermons. The icons offer a message written in simple and all-embracing language, a message that everyone can read without distinction of tongue or education. The icons are the language of the church, reaching out across generations," Malti writes. Mary Mansour is a woman of many talents. Journalist at Watani newspaper, television producer, science fiction writer and actress, she has just completed the graduate programme at the Institute of Coptic Studies. Mansour, who presented two icons at the exhibition, also has a screen credit. "I played the role of Mar Mina's mother in a film produced by the Coptic Church in the 1980s," she says. The film was sponsored by the Helwan Bishopric and was written by Shenouda Guirguis and directed by Samir Seif. The part of Mar Mina was played by Hani Ramzi, whose career was just beginning. To this day, people who meet Mansour still remember her role. "Many people have told me that the film had a tremendous effect on their lives." she says. Mansour was keen to add a new angle to the art of icon production. "I had studied art abroad and visited a lot of museums; I had the urge to bring in new ideas as well as my own interpretation. I have studied icons in an analytical manner, and it is my belief that an icon is there to be read rather than seen. An icon is an image with a story. When I started to draw the icon, I remembered all the things I used to write about -- icons painted by others -- and how I used to say that we need to come up with new ideas." Two days before Mansour started working on her icons, she tore a tendon in her left shoulder. Unable to move, she prayed to Mar Mina. "I asked him if he was against me drawing the icons." Apparently not, because soon afterwards Mansour recovered and two days later her icon was finished. Mar Mina is conventionally depicted as a man standing with his hands raised in a position of prayer, with two camels and a church spire behind him. In her interpretation, Mansour tried to tell the story in more detail. "I separated the imagery into three stages. In the first I show Mar Mina's mother, Ophemia, praying to the Virgin for a son. Also in this stage, I show a shepherd carrying the lamb that Mar Mina healed in a miracle he worked years after his death. The lamb was to reveal the site of Mar Mina's burial in Mareotis (south of Alexandria), near a pool that brought healing to those who bathed in it." One story is attributed to the time of Pope Athanasius the Apostolic. A princess suffering from leprosy is said to have asked Mar Mina to heal her. The saint appeared to her in a dream and told her to build a church for him and rebury his remains to the church. When the body of Mar Mina was exhumed, Mansour said, a plate showing a portrait of the saint was found in the tomb. The story of Mar Mina was written on the back of the plate. Also in the first phase of the illustration, Mansour drew three angels carrying wreaths and surrounding the body of Mar Mina. In the second stage she drew 12 stars to indicate the apostles. "The stars are a sign that the story of martyrdom has reached the four corners of the earth, just as the apostles spread the word of Christ." In the third phase Mansour inserted an Egyptian touch. "I wanted to show that this particular saint is Egyptian through and through. So I drew the Pyramids and the Alexandria lighthouse. These are two of the wonders of the world, and I remind you that the Copts often refer to Mar Mina as Agaybi, or the man of wonders." In his book, Malti says that Coptic icons are exceptionally cheerful. There is no portrayal of suffering and hell, only heaven and peaceful beings. This is markedly different from Greek icons, Malti adds. The Copts are the only Christians who take no interest in portraying the pains of martyrs on earth or of sinners in hell, Malti notes. In the tradition of Coptic icons, we see many martyrs, but they are all smiling contentedly, their sorrows left behind.
