Liturgia Sacra, 2011, R. 17, nr 2 (38)

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Malesa, Wojciech (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)
For over a hundred years the issue of kitsch has been discussed by historians of art and its followers. The concept of kitsch has evolved over the years and lost the rigid boundaries. Attempts to determine what could be called a work of art, and may be included in the field of kitsch, has caused various difficulties. There are several concepts indicating the characteristics of kitsch in relation to particular realities. Also in the field of sacred art there are creations which are far from the canons of art, approaching both its form and content to kitsch. The liturgy is the very demanding “space”. Approved for it may be only those works of art that are characterized by compliance, real beauty, theological correctness, and are far from inappropriate splendour. The major place in liturgy is the temple built around the altar, which is a domus ecclesiae. Therefore, the requirements of the rules and traditions of canonical sets of requirements for the creation of the architectural design of future temples. Also the altar – the place the most import ant in the liturgy, along with the sorroundings is worthy of special attention from artists, as it is the symbol of the cross on which Christ has made its most perfect sacrifice. The presence of religious paintings both in churches and private homes should be characterized by their beauty and theological correctness, so as faithful praying in front of them direct their thoughts toward God and let people worship Him. Among the vestments and vessels used in the liturgy we cannot miss their beauty and theological correctness. In the article’s conclusion, based on the result of an earlier analysis of legislation and in relation to the various examples cited for the use of human products in the liturgy, the author points out the qualities that should characterize the work of sacred art. All these raise the thesis that the boundary between art and kitsch appears where it breaks away from the work of theology and liturgy, it is the artificial product, it loses its uniqueness, it does not cause deep feelings which make the recipient closer to the true beauty and does not meet the requirements of the law to preserve the beauty and avoid the of splendour.
Michał Anioł i Wolfgang Amadeusz – dwie wizje końca świata
Grajewski, Czesław (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)
This article refers to the subject often undertaken by artists in the history of art – the vision of the end of the world. The author focuses on two specific masterpieces: Michelangelo Buonarotti’s fresco The Last Judgement (completed in 1541) and Wolfgang Amadeus Mozart’s funeral mass Requiem KV 626 (unfinished in 1791). Despite the fact that their works are divided by the period of over two centuries, common fragments can be found in both biographies. For example, the protectorate of lords and the price paid for being an artist. Connoisseurs of art often highlight that both the Judgement and the Requiem are an expression of the fear of death and the sense of guilt for the evils committed. In addition to theme, both works are connected to each other by one more thing: in the spring of 1770, Mozart after hearing Gregorio Allegris’s Miserere twice, wrote it down from memory. This piece of work was covered by several restrictions. It was allowed to perform it only during the great week and only in the Sistine Chapel, where Michelangelo had placed his fresco. It is possible that even 250 years after the creation of Last Judgement, Mozart had this fresco in mind when composing Requiem in Vienna. The author of the article tries to find these elements of the painting and music, in which both artist have included their own idea of the last hours of the world’s existence.
Przestrzeń kościelna między kanonem a bezładem
Nadrowski, Henryk (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)
Believing and practicing Catholics will understand the need of place, context and of special atmosphere for prayer, liturgy celebration and adoration. Still, an important and current problem are: the criteria, circumstances, content, form, iconographie programme of the facility ie. everything that contributes to this only and unique space, the space of the church. The problem concerns both the context, the surroundings, and above all the interior of the church. We ask both the recipients (the users) and the investors (usually the clergy) as well as those who design and build, the question: “How”? We ask them, how to create an adequate, suitable and appropriate sacred building which answers both the needs of a specific Christian community and is the work of the present time and of this era. Neither chaos, arbitrariness, lawlessness, mediocrity nor religious kitsch should have any access here. Many good and pious people refer to their experiences, feelings and memories from their childhood or youth. They long for churches in the styles of bygone eras. Historicism and even antiquization of architecture and sacred art, appear to be – according to those persons – the only and the best help for the failure of modern sacred architecture. Other people tend to the stereotype, template, standard and canon. There seems to be forgotten the main message of Vatican II in this sphere ie. the need for creative development of the present day church buildings. The spirit and personality of the architect are the most important factors that affect the modern art architecture of sacred buildings. The sense of dialogue and responsibility of all milieus enables to create serving and beautiful buildings imbued with knowledge and faith. They shall also be a specific manifestation of sanctification of our times – of consecratio mundi.
Symbolika barw, czas i przestrzeń na akatystowych ikonach Bogurodzicy. Schemat ikonograficzny bizantyński i ruski
Cyrek, Olga (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)
Among the paintings deserve attention Marian icons, which emphasized the Theothokos titles contained in the so-called liturgical hymns (acatist). It is this type of imagery includes such icons as Mother of God life v giving source, Veil of Our Lady (Protection) and the Mother of God enthroned. On these icons of the Theotokos is surrounded by cosmic attributes that indicate that sehe is the Queen of Heaven and is associated with all creatures. The central place is occupied by Mary and Child, and is surrounded around her smaller paintings. Just like any icon theological content transitted through a specific work of art, or color, form and line. Prospective lines do not concide in one point here, but guided by the viewer. Colors have a symbolic meaning. Space and time do not have the icon nothing to do with the laws of physics, but reversed the laws of nature. The icon is after all done from the standpoint of eternity, thus uniting in one plane scene taking place at different times. The main characters are placed on the axis of the icons and have larger size, so you create a proper hierarchy of forms. While less important elements are treatet conventionally.
Szaty liturgiczne to też dzieła sztuki. Wybrane przykłady z XVIII wieku w polskich zbiorach
Bender, Agnieszka (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)
Despite Poland’s tumultuous history, rich and sometimes outstanding collections of liturgical vestments remain in churches and museums. Of world renown is the, now scattered, largest collection of medieval paraments found in a walled-up chapel in Saint Mary’s Church in Gdansk. The number and diversity of 17th century Italian patterned silk fabrics used to make chasubles in Poland is greater than such collections in Italy itself. The most diverse and best preserved are the liturgical vestments from the 18th century. These works demonstrate the phenomenon of meeting and even blending together of influences and inspirations from the West and the East, seen both in the techniques used and in the means of decoration. Damask from Lyon was commonly used to make liturgical vestments along with Turkish and Persian fabrics. Paraments made of re-used kontush (Polish noblemen’s outer garment) sashes constitute a separate group of objects. A large group of embroidered vestments as well as unique chasubles made from tapestries are also noteworthy.

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