Liturgia Sacra, 2012, R. 18, nr 1 (39)

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Przeglądaj Liturgia Sacra, 2012, R. 18, nr 1 (39) wg Temat "architecture"

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    Czasoprzestrzeń sakralna, jej meandry i metamorfozy
    Nadrowski, Henryk (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2012)
    The sacral reference of ecclesiastical architecture and art makes the context of time and space decisive for the positive or negative effects of those realizations. Concurrently, sacral architecture and art exceeds those categories and criteria, as it touches the sacrum, transcendence, and in fact directs the recipient to the Supernatural Reality. This involves a fundamental difficulty because we use human means of artistic expression as well as human language to describe, interpret or assess these works. That is why the aesthetic and artistic criteria just as theological and liturgical ones change from age to age. It is therefore essential to “see time” and feel it, and to take the “signs of the times” into account. Since for our generation the Second Vatican Council is a culminating point, its spirit (not letter) offers guidance in the continual confrontation between theory and practice, and between the heritage of past generations and what is or should be at present. The crux of the matter is an appropriate understanding of the Christian “now” – hodie. “Historical enslavement”, a sacralization of past ages by furnishing the church space with plagiarisms or replicas is a threat of stagnation in the development of ecclesiastical sacrum. It is an error (sometimes irrevocable) to use inadequate methods of restoration of church monuments, outdated techniques or technologies and to allow mediocre works of low artistic value or ones that are incompatible with the wholesome teaching of the Church. Another unconstructive phenomenon that is nowadays even becoming a process consists in ignoring the original, in other words proper purpose of an ecclesiastical building. This is manifested (mostly in the West) in a tendency to transform church spaces into concert halls, theatres, art galleries, polling stations or commercial enterprises. Such an attitude expresses a distortion of sacral sensitivity (the so-called “religious sense”) and is evidence of an axiological and spiritual amnesia of the present generation. The cure lies in a conscious and intentional return to Christian personalism with regard to individuals (the artist, the investor, the recipient) as well as the community of faith and cult (predominantly the liturgical congregation). It is necessary to combine the nurture of memory and creative thinking. It is important that sacral works, both old and modem and especially those of a symbolic, meditative or mystical character should activate their recipients and induce them to an attitude of co-creativity. Liturgy, architecture and the art that accompanies it should, by means of symbols and signs, open people to God and the Paschal and eschatological reality of the Eternal Feast.