Paintings of Anastasi Al-Roumi on the altar chairs by apply to the Church of the Virgin Mary in Maadi and the Monastery of Anba Makar in Wadi El-Natrun | ||||
| The International Journal of Tourism and Hospitality Studies | ||||
| Volume 4, Issue 1, January 2023, Page 119-142 PDF (2.25 MB) | ||||
| Document Type: Original Article | ||||
| DOI: 10.21608/ijthsx.2023.188340.1047 | ||||
 View on SCiNiTO | ||||
| Author | ||||
Randa wagdi Nasr 
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| faculty of tourism and hotels management fayoum university- | ||||
| Abstract | ||||
| Anastasi Al-Roumi Al-Maqdisi is considered one of the most famous artists of icons in Egypt in the nineteenth century AD, and many churches and monasteries abound with a rich artistic heritage of this creative artist, but we rarely find depictions of Anastasi Al-Roumi on altar tools or inside manuscripts, as the importance of this research is due to the fact that it published New three altar chairs dating back to the nineteenth century AD, one of them preserved in the Church of the Virgin Mary in Maadi, and two preserved in the Monastery of St. Anba Makar in Wadi El-Natrun, painted by Anastasi El-Roumi. These altar chairs used in the liturgy rites in the Coptic Church are a unique model of altar chairs, as each side of The sides of the altar chair with a different pictorial theme, showing in one of the sides a pictorial drawing of the owner of the church in which the altar chair is enshrined. The aim of the study of the altar chairs is to make an analytical artistic study of the pictorial subjects depicted on the four sides of each chair of them, and of the human, written, geometric and botanical artistic elements, in addition to an explanation of the features The artistic illustrations of Anastasia El-Roumi, and to achieve the objectives of the study, the research relied on the historical approach to define the history of Anastasia El-Roumi, in addition to a brief summary of it. | ||||
| Keywords | ||||
| Anastasia El Roumi; :altar chair: Church of Virgin Mary; : Anba Makar Monastery; : Wadi El Natrun | ||||
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