Liturgical Vestments and Vessels: an Implication for the Formation of an Ecclesiastical Visual Conscience

Autor: Ivan Šaško
Jazyk: chorvatština
Rok vydání: 2004
Předmět:
Zdroj: Bogoslovska smotra
Volume 74
Issue 4
ISSN: 1848-9648
0352-3101
Popis: Na početku su razmišljanja o mogućemu odnosu umjetnosti i liturgije u širemu kontekstu odnosa teologije i umjetnosti. Umjetnost (osobito likovna) koja je zadobila atribut sakralnoga i liturgijskoga proživljavala je tijekom povijesti različita iskušenja. Budući da je ona najočitiji pokazatelj ne samo činjenice da se odnos između Crkve (kako vodstva tako i zajednice vjernika u cjelini), umjetnosti i umjetnika ne nalazi na zavidnoj razini, nego i načina na koji vjernici žive vlastitu crkvenost, pitanje likovnosti vezane uz liturgijsko ruho i posuđe postaje izazovno. Ono postaje odrazom kršćanskoga nauka u kristologiji i ekleziologiji. Ako umjetnici raznih umjetnosti polaze od liturgijskoga slavlja, veoma će se brzo uočiti posljedice i za 'velike' liturgijske teme, osobito kada je u pitanju liturgijski prostor. Polazeći od oltara i liturgijskoga čina, na samome početku planiranja izgradnje liturgijskoga prostora nametnut će se pitanje cjelokupne liturgijske likovnosti. Tada je itekako važno kakvo je liturgijsko posuđe (ovdje s posebnim naglaskom na kaležu) ili ruho (s posebnim naglaskom na misnici), jer ono je mikroarhitektura slavlja, u drugome se dijelu - na konkretnim primjerima - kroz prizmu podjele na: a) informativne; b) demonstrativne; c) dekorativne; d) mistagogijske predmete, pokušava potkrijepiti tvrdnje te istaknuti smjernice za primjeren pristup današnjim novim traženjima, kako svojim teološkim i estetskim neukusom ne bismo zanijekali objavljenu Istinu.
This presentation contains theoretical expressions, the historical development and an encounter with real examples, derived particularly from Croatian heritage and present circumstances. The article begins with reflections on the possible relation of the arts and liturgy, and in a wider context the relation of theology and the arts. Art (especially visual) having acquired sacred and liturgical attributes has experienced during history various difficulties. Due to the fact that the arts are the most evident indicator not only of the fact that the relationship between the Church (the hierarchy and the community of believers as a whole), the arts and the artist is not in an enviable position, and the way in which the faithful live out their association with the Church, the question of visuality relating to liturgical vestments and vessels becomes a challenge. Vessels, in many ways possibly interpreted as secondary for Christian liturgy, represents an internal attitude towards Christian truths concerning the incarnation and redemption through Jesus Christ and ecclesiology. If artists of the various arts begin with the liturgical celebration, the results for 'great' liturgical themes shall be soon evident, especially when the question of the liturgical place arises. Starting from the altar and the liturgical act, the very first stage in planning the construction of the liturgical place, the question of integral liturgical visuality is posed. Indeed, the type of liturgical vessels (here special emphasis on the chalice) or the vestments (with an emphasis on the chasuble), become very important because they are the micro-architecture of celebration. The liturgical vernacular is always a special language, and therefore a meta-language, taken from an area of every day life, subjective intentions and forms of cooperation. Whatever subjectivity would possibly carry the liturgical celebration into mimeses (imitation), it would deny its anamnesis (memorial) and objectivity. Distanced far from high fashion, liturgical vestments and vessels reveal a distancing of the values promoted in the fashion world. It is not advisable to start from the presumption that the arts and liturgy can easily become agreeable, because their harmony is in itself not understandable. The relationship between artistic freedom and liturgical demands for rituality are particularly interesting. For the artist the 'sign' is the most common ownership that communicates itself. In liturgy, the sign is chiefly God's ownership that serves in communicating Christ. It is in this contrast, it seems, that lies today's crisis in the relation of the arts and liturgy. There where art seeks absoluteness, faith has something to offer, while liturgy realizes a 'Christological' criteria of the absolute, preventing art in reducing absoluteness to a personal conception of the world. It is possible to speak of four criteria (silence, faithfulness to God's word, community of the faithful and internal harmony of liturgical entirety) that bring an understanding to liturgical particularity, a level in liturgy where art is itself transformed. This is not an art allowed to concede to isolation and auto-emancipation. Liturgy delivers art from the absoluteness of art, that is, it obliges art to redefine itself. Alongside these difficulties, it is investigative that today art reveals itself as a "substitutive place for that which is not completely mentionable and comprehensible ". The arts are a place of disquiet and awakening of desires leading to integrity in answering the threat to the lose of reality; a place of sentencing protest, resistance, and desires for something altogether different so as to realize life. Today, art occupies a metaphysical and theological place, and for theology, it becomes significant, even as a loci alieni. Having before ourselves this entire complex problem, the second part — using real examples — is divided into: a) informative b) demonstrative c) decorative d) and mista-gogical subjects. It attempts to sustain the assertions and point out the guidelines for an applicable approach to today's new quest, so that with its theological and esthetical distastefulness we would not deny the revealed Truth which has been entrusted to us in fragile vessels (nonetheless vessels) and we should not forget that we have clothed ourselves with Christ.
Databáze: OpenAIRE
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