The beginning of the process of repeated actualisation and revitalisation in Serbia coincided with the beginning of the social, economic and political crisis on the territory of the former SFRY, which took place in the beginning of 1990s.On the official political (and life) scene during the 1990s and in the first decade of the 21 century, religious symbols have been used liberally. In everyday life, casinos, brothels and new cars are consecrated, religious paraphernalia become current fashion accessories, icons are used to decorate premises of political parties, tycoons and businessmen, while images of saints entice customers from consumer goods, such as paper napkins, towels, key rings, spirits bottles, etc. Festive days, holidays, transitional and critical situations are frequently marked with mass gatherings under religious text or implications, but certainly once again using religious paraphernalia, only this time those which evoke collectivity and national unity. Thus, while in public premises it is usual to see an icon of St. Sava, the first Serbian archbishop, as well as the icon of the White Angel, a detail from the painting The myrrh-bearers on Christ's grave, at mass celebrations, but equally so at revolutionary street protest rallies (which in the capital were plentiful during the last dozen years), as well as at celebrations of town Patron Saint's days and various festivities, there appears the image of the Theotokos. Leading processional walks of the towns, it emerges as a symbol which manages to mobilise the nation with its fullness and multi-layered meaning. Political and ideological usage of Virgin Mary icons is characteristic of not only modern Serbian society. This paper also brings the review of traditional cult and respect of Virgin Mary and Her icons and their usage in secular context in previous historical periods.
Metaphorical Images of the Sacred Workshop
