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Baku, Eszter. "Tradition and Liturgy: Centralising Tendencies of Lutheran Church Architecture in Hungary during the Interwar Period." Periodica Polytechnica Architecture 44, no. 1 (2013): 1–8. http://dx.doi.org/10.3311/ppar.7297.
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Saloojee, Ozayr. "The Next Largest Thing: The Spatial Dimensions of Liturgy in Eliel and Eero Saarinen’s Christ Church Lutheran, Minneapolis." Nexus Network Journal 12, no. 2 (May 11, 2010): 213–37. http://dx.doi.org/10.1007/s00004-010-0032-6.
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Gruk, Wojciech. "Alle drey Ding vollkomen sind! On the Meaning of Naming the Church after Holy Trinity According to Josua Wegelin, Preacher in Pressburg, Anno 1640." Periodica Polytechnica Architecture 48, no. 1 (April 12, 2017): 23–27. http://dx.doi.org/10.3311/ppar.10125.
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Based on two erudite occasional prints from 1640, commemorating the consecration of the new Lutheran church in Bratislava, the article concerns the meaning of a church name in the mid-17th century Lutheran religious culture. The issue is set and discussed in the broader context of Lutheran theology regarding places of cult: what is a Lutheran place of cult, what is its sacredness, what is the relationship between church architecture and the worship space it determines. From the perspective of cultural studies, the article provides an insight into the process of imposing the architecture with symbolic meaning.
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Mark, Robert, and Rowland J. Mainstone. "Hagia Sophia: Architecture, Structure and Liturgy of Justinian's Great Church." American Journal of Archaeology 93, no. 3 (July 1989): 489. http://dx.doi.org/10.2307/505622.
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Fritsch, Emmanuel, and Michael Gervers. "Pastophoria and Altars: Interaction in Ethiopian Liturgy and Church Architecture." Aethiopica 10 (June 22, 2012): 7–51. http://dx.doi.org/10.15460/aethiopica.10.1.235.
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FOR THE PHOTOGRAPHS BELONGING TO THE ARTICLE SEE SUPPLEMENTARY FILES > There are three parts to the interior space of ancient Ethiopian churches: a sanctuary (Mäqdäs) which is expanded into the “Holy Place” (Qǝddǝst) and the place of the assembly (Qǝne maḥlet). Four rooms stand at the corners of a cross-in-square interior: two service rooms on either side of a narthex-like entrance-room, westwards and, more important for the present discussion, two eastern service rooms which flank the sanctuary. These are called the pastophoria. After early input from Syria-Palestine, the Ethiopian basilicas took on an Aksumite character. Their development continued in a loose relationship with changes on the Egyptian scene, notably with a double phenomenon: the evolution of the rite and place of preparation of the bread and wine for Mass (the prothesis), and the demand for more altars at a time when churches could not be multiplied in Egypt. A study of architectural changes in the churches, alongside a comparison of liturgical practices and clues found in iconography and Coptic and Syriac literature, can bear witness to how the liturgy of the Ethiopian Church developed. Such investigation is all the more important because the absence of written documentation until the 13th century has left the church buildings as almost the only evidence available for study. The present study concentrates on the evolution and eventual disappearance of the pastophoria. The nature and location of the altars provides further evidence for dating. It should be noted that Ethiopia does not entirely abide by the Coptic models, essentially because what provoked change in Egypt did not exist in Ethiopia. Many questions still remain to be answered, including: When and where did the large monolithic altar of the permanent Coptic altar type first appear? Why are the West-Syriac and Ethiopian Churches today the only ones to celebrate Mass in a synchronized manner? We hope to address these and other questions at a later date.
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Zuba, Karolina. "The spirit of modern sacral architecture." Budownictwo i Architektura 14, no. 2 (June 9, 2015): 131–38. http://dx.doi.org/10.35784/bud-arch.1659.
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Sacral architecture, due to its special function, is able to tremendously influence the society. Being a phenomenon for ages, it has undergone many changes alike the church liturgy, which to some extent impacts the church architecture. In the modern sacral architecture it is possible to distinguish two main tendencies in creating objects of temples. The first one is entirely modest – simplicity of form and interior. The second tendency, which may be described as the opposite of the former, presents monumentalism usually connected with rich symbolism. Modern temples also show references to historical forms. Another factor which may influence the form and function of the sacral object is the religious beliefs of its author.
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Baku, Eszter, Erzsébet Urbán, and Zorán Vukoszávlyev. "Protestant Space-Continuity." Actas de Arquitectura Religiosa Contemporánea 5 (July 25, 2018): 122–31. http://dx.doi.org/10.17979/aarc.2017.5.0.5146.
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Intensive efforts started in the last decades to get to know the Central and Eastern European and the Hungarian church architecture. In this historically depressed period (1920/1945/1989), church buildings were important identity forming potencies in the life of the Protestant communities newly emerged by the rearrangement of country's borders. The modern architectural principles, the structural and liturgical questions gave opportunity for continuous experimentations in the examined period, which resulted a centralizing tendency between the two world wars. Analysing the Protestant space organization, it is verifiable that these centralizing tendencies with identification character did not pull out from the de-emphasizing church architecture in spite of the historical–political events of World War II. The primary importance of the study is the holistic examination of the Protestant church architecture of the 20th century. The study shows the Protestant Church activity of the period through the two most significant denominations —the Calvinist and the Lutheran church architecture—, thereby providing a typological approach.
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Proctor, Robert. "Modern church architect as ritual anthropologist: architecture and liturgy at Clifton Cathedral." Architectural Research Quarterly 15, no. 4 (December 2011): 359–72. http://dx.doi.org/10.1017/s1359135512000127.
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For the modern architect, the programme for the church was fraught with the dangers of excessive individualism of style or, alternatively, a merely superficial updating of tradition. To escape from both, the architect was, by the early 1960s, being exhorted to study the church's functions. Aware of the difficulties of placing ancient rituals in the same category as the sociology of education or the productivity of offices, architects and like-minded clergy saw the church as a building not only to house certain actions and communications, but also capable of lending these a relevant meaning. The church architect had to discard his preconceptions about the building type, and begin with a new analysis of ritual, and had also, therefore, to find out what the ritual meant by questioning the client and developing a brief. In this research the architect would therefore act as a ritual anthropologist; like the anthropologist, he would encounter some significant methodological problems.
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WEBER, FRIEDRICH, and CHARLOTTE METHUEN. "The Architecture of Faith under National Socialism: Lutheran Church Building(s) in Braunschweig, 1933–1945." Journal of Ecclesiastical History 66, no. 2 (April 2015): 340–71. http://dx.doi.org/10.1017/s0022046913002571.
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It has frequently been assumed that church building ceased after the National Socialists came to power in Germany in 1933. This article shows that it continued, and considers the reasons why this was the case. Focussing on churches built in the Church of Braunschweig between 1933 and 1936, it explores the interactions between emergent priorities for church architecture and the rhetoric of National Socialist ideology, and traces their influence on the building of new Protestant churches in Braunschweig. It examines the way in which Braunschweig Cathedral was reordered in accordance with National Socialist interests, and the ambiguity which such a reordering implied for the on-going Christian life of the congregation. It concludes that church building was widely understood to be a part of the National Socialist programme for creating employment, but was also used to emphasise the continuing role of the Church in building community. However, there is still much work to be done to investigate the ways in which churches and congregations interacted with National Socialism in their day-to-day existence.
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Morel, Anne-Françoise, and Stephanie van de Voorde. "Rethinking the Twentieth-Century Catholic Church in Belgium: the Inter-Relationship Between Liturgy and Architecture." Architectural History 55 (2012): 269–97. http://dx.doi.org/10.1017/s0066622x00000125.
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When considering the evolution of twentieth-century church-building, two topics are inescapable — the Liturgical Movement and developments in Modern architecture — and this article therefore argues that in order to appreciate the evolution of the twentieth-century Catholic parish church it is essential to take both liturgical and architectural developments into account. It focuses on such churches in Belgium because that country played a particularly important role in developing relevant theory, Belgian clergy having been founding members of the Liturgical Movement. However, the movement took more than half a century to develop fully there, during which time other initiatives also appeared, such as Domus Dei (the Belgian Diocesan organization for church-building, set up in 1952) and Pro Arte Christiana. Moreover, other factors — ecclesiastical, social, economic, political and cultural — also prove to be crucial in reaching a full appreciation of twentieth-century church-building, for instance, the impact of diocesan guidelines for church-building, and of bodies such as Catholic Action (Katholieke Actie) and Parish Action (Parochiale Actie). This article demonstrates that, despite few apparent formal similarities (if any) between churches built in Belgium before and after World War II, the developments of the inter-war period were fundamental to post-war developments in Belgian church-building.
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Radice, Flavia. "Architecture of the university chapels." Actas de Arquitectura Religiosa Contemporánea 3 (October 2, 2015): 166–73. http://dx.doi.org/10.17979/aarc.2013.3.0.5099.
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University chapels are evangelization outposts offering the possibility to give evidence on the presence of the Church in places otherwise not reached from the ordinary pastoral action. In most Italian campuses there is no place for worship. Indeed, Italy presents a variegated phenomenology of university buildings and related chapels, understandable looking at their history. The liturgical problem arises noting that university chapels are places of particular relationship with the sacraments, great invitation to meditation and occasions of architectural experimentation. Helped by some international examples, this search means to enrich the historiographical and critical outline of the architecture-liturgy connection.
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Manic, Bozidar, Ana Nikovic, and Igor Maric. "Relationship between traditional and contemporary elements in the architecture of Orthodox churches at the turn of the millennium." Facta universitatis - series: Architecture and Civil Engineering 13, no. 3 (2015): 283–300. http://dx.doi.org/10.2298/fuace1503283m.
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The paper will present the contemporary practice of church architecture in Bulgarian, Romanian, Russian and Greek orthodox churches, at the end of the XX and the beginning of the XXI century, and analyse the relationship of traditional and contemporary elements, with the aim of determining main trends and development tendencies. Free development of sacred architecture was interrupted by long reigns of authorities opposed to Orthodox Christianity. After the downfall of Communist regimes, conditions were created for the unobstructed construction of sacred buildings in all Orthodox countries, while the issue of traditional church architecture re-emerged as important. Further development of Orthodox church architecture may be affected by some issues raised in relation to the structure and form of liturgy, regarding the internal organisation of the temple. The freedom of architectural creation is strongly supported by the richness of forms created throughout history. Traditionalist approaches to the architectural shaping of churches are dominant even nowadays, tradition being understood and interpreted individually. At the same time, efforts to introduce contemporary architectural expression into church architecture have been increasing and gaining strength.
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Fulford, Alison. "Book Review: Liturgy and Architecture: From the Early Church to the Middle Ages." Theology 113, no. 871 (January 2010): 71–72. http://dx.doi.org/10.1177/0040571x1011300127.
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Jacoby, Thomas. "HAGIA SOPHIA: ARCHITECTURE, STRUCTURE AND LITURGY OF JUSTINIAN'S GREAT CHURCH. Rowland J. Mainstone." Art Documentation: Journal of the Art Libraries Society of North America 7, no. 4 (December 1988): 172–73. http://dx.doi.org/10.1086/adx.7.4.27947984.
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Moody, Christopher. "‘The Basilica after the Primitive Christians’: Liturgy, Architecture and Anglican Identity in the Building of the Fifty New Churches." Journal of Anglican Studies 15, no. 1 (May 11, 2016): 37–57. http://dx.doi.org/10.1017/s1740355316000152.
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AbstractThe London churches built by Nicholas Hawksmoor – the architect required by the Commission for the Fifty New Churches to provide a template for the new churches according to the principles laid down in 1712 – are often regarded as the idiosyncratic creations of the architect’s individual genius. They were, however, as much the creation of the particular intellectual, theological and political context of the late Stuart period, an expression of a high church attempt to reconnect the Church of England with the early centuries of the Christian Church, particularly the great basilicas built under Constantine and Justinian. Conservative in intent, they were at the same time fed by the new spirit of intellectual enquiry led by the Royal Society and the expansion of global trade at the start of the eighteenth century. These express a new Anglican denominational identity as the inheritor of the ‘purest’ traditions of the ‘primitive’ church, ancient yet modern, orthodox and, at the same time, reformed: one that still influences discussion across the Communion today.
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Tanumihardja ; Yenny Gunawan, Maria Angelina. "PURPOSE A SACRED ROOM OF CHRUCHES BY PASTOR MANGUNWIJAYA CASE STUDY: CHURCH OF MARIA ASSUMPTA KLATEN, CHURCH OF THERESIA SALAM, AND CHURCH OF MARY." Riset Arsitektur (RISA) 2, no. 02 (June 4, 2018): 165–81. http://dx.doi.org/10.26593/risa.v2i02.2928.165-181.
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Abstract - Sacred space is everywhere and has become the part of human’s life since thousand years ago. Onemanifestation of the sacred space is the Catholic Church. A sacred space in the Catholic Church should be ableto accommodate liturgical activities in accordance with the rules and the order of their activities so thecelebration of the Eucharistic liturgy can run well. This study will attempt to understand the concept and themanifestation of the sacred space found in Romo Mangunwijaya’s churches in accordance to the concept andthe manifestation of the Catholic Church’s sacred space.Research will be carried out based on a preliminary study conducted by studying the universal sacred spacetheory proposed by Eliade and the theory of the Catholic Church’s sacred space that refers to the principles ofthe liturgy space. Results of analysis of each object of the study will then be processed further through acomparison table so that it can be concluded the manifestation of a sacred space in Romo Mangunwijaya’schurches.From the results of research on the objects of the study, showed that the manifestation of the sacred space of theRomo Mangunwijaya’s Churches dominantly shown in terms of orientation, ornaments, and atmosphere. Inaddition, the case study that shows the most dominant manifestation of the sacred space is Theresia SalamChurch.The benefits of this research are: for general public, this research can improve the knowledge of the importanceof the sacred space within the Catholic Church and how to integrate local values and culture into the sacredspace concept established in the Catholic Church's rules. Meanwhile, for the architects and institutions of theCatholic Church, this research can improve the knowledge of the concept of sacred space in the CatholicChurch and how to manifest the concept of the sacred space into the architecture of the Catholic Church.Key Words : sacred space, church, Y.B. Mangunwijaya
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De Jong, Ursula, and Flavia Marcello. "Stewardship and renewal of catholic places of worship in Australia." Actas de Arquitectura Religiosa Contemporánea 6 (April 3, 2020): 156–71. http://dx.doi.org/10.17979/aarc.2019.6.0.6236.
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The National Liturgical Architecture and Art Council (NLAAC) is an advisory body to the Bishops’ Commission for Liturgy of the Australian Catholic Bishops Conference, mandated to provide advice in the areas of liturgical architecture, art and heritage. The Council has prepared guidelines for use throughout the Catholic Church in Australia. The most recent of these documents, Fit for Sacred Use: Stewardship and Renewal of Places of Worship (2018) focusses on existing church buildings with particular reference to cultural heritage, and is the subject of this paper. Vatican II sought the full and active liturgical participation of all the people and so existing churches were reordered to foster inclusion. It is timely to consider questions around what constitutes our heritage and how it is valued. Fit for Sacred Use sets out the liturgical and heritage principles which are fundamental to conserving, renovating and reordering a church building. Its holistic approach considers how we renew our churches while honouring our heritage.
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Mathews, Thomas F. "Review: Hagia Sophia: Architecture, Structure, and Liturgy of Justinian's Great Church by Rowland J. Mainstone." Journal of the Society of Architectural Historians 48, no. 2 (June 1, 1989): 181–82. http://dx.doi.org/10.2307/990357.
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Бузыкина, Юлия Николаевна. "Review of: Sacred Architecture of Byzantium. Art, Liturgy and Symbolism in Early Christian Churches. London; New York: I. B. Tauris & Co Ltd, 2014. 446 p. ISBN 978-1-78076-291-3." Theological Herald, no. 2(37) (June 15, 2020): 351–56. http://dx.doi.org/10.31802/2500-1450-2020-37-2-351-356.
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Книга Николаса Н. Патрикиоса («Сакральная архитектура Византии: искусство, литургия и символизм в раннехристианских церквях») представляет собой обобщающую работу о византийской архитектуре от эпохи Константина до падения Константинополя. Важность её заключается не только в том, что автор проработал огромный массив материала — 370 памятников, разделив их на семь типов (с. 48) и проследив эволюцию каждого из них и в целом и в деталях, но и в том, что автор учитывает взаимосвязь между архитектурной типологией и наполнением здания, демонстрируя, как особенности литургии в разные исторические периоды соотносятся с архитектурной эволюцией, а также с образным наполнением церковного пространства. Эта отличительная черта работы сообщает ей необходимую полноту. Для Патрикиоса архитектура, литургия и священное изобразительное искусство представляет собой единое целое. Чтобы учесть все компоненты целого, автор делит повествование на следующие главы: церковь и государство; сакральная архитектура; великолепные церкви; духовное искусство; литургия и Евхаристия; символизм в архитектуре и искусстве. The book by Nicholas N. Patrikios ("Sacred Architecture of Byzantium: Art, Liturgy and Symbolism in Early Christian Churches") is a generalizing work on Byzantine architecture from the era of Constantine to the fall of Constantinople. Its importance lies not only in the fact that the author has worked through a huge array of material - 370 monuments, dividing them into seven types (p. 48) and tracing the evolution of each of them in general and in detail, but also in the fact that the author takes into account the relationship between the architectural typology and the content of the building, demonstrating how the features of the liturgy in different historical periods correlate with the architectural evolution, as well as with the figurative content of the church space. This distinctive the feature of the work gives it the necessary completeness. For Patrikios architecture, liturgy and sacred art of constitutes a single whole. To take into account all the components of the whole, the author divides the narrative into the following chapters: church and state; sacred architecture; magnificent churches; spiritual art; liturgy and Eucharist; symbolism in architecture and art.
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Suárez, Rafael, Juan J. Sendra, and Alicia Alonso. "Acoustics, Liturgy and Architecture in the Early Christian Church. From the domus ecclesiae to the basilica." Acta Acustica united with Acustica 99, no. 2 (March 1, 2013): 292–301. http://dx.doi.org/10.3813/aaa.918611.
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Proctor, Robert. "Churches for a Changing Liturgy: Gillespie, Kidd & Coia and the Second Vatican Council." Architectural History 48 (2005): 291–322. http://dx.doi.org/10.1017/s0066622x00003816.
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The relationship of Modernism in architecture with the symbolic needs of church- building was fraught with the dangers of betrayal: whether the architect indulged in personal spiritual expression, or used traditional forms, he could be accused of stylistic excess; if he applied a reductive functionalism, the result could be faulted as failing the brief. After the Second World War, expression and tradition were gradually admitted into Modernism to expand and enrich its vocabulary, and the limits of functionalism were reassessed. Churches were a field in which architects of the Modern Movement could explore their new concerns with poetic form and monumentality, in contrast to the more prosaic jobs in housing, schools, and so on; but few architects had the chance to work on churches in quite the same volume as the more pressing post-war building tasks. One firm of architects with an exceptional opportunity was Gillespie, Kidd & Coia, responsible for a series of Roman Catholic churches in Scotland, ‘the finest body of post-war church building in Britain’, according to Elain Harwood.1 This work has attracted attention from architectural historians before, particularly for its rich and humane interpretation of sacred architecture.
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Danielisz, Dóra. "Spatial Formation in 16-19th Century Calvinist Church Architecture: The Calvinist Churches of Sepsiszék." Periodica Polytechnica Architecture 48, no. 1 (April 12, 2017): 35–44. http://dx.doi.org/10.3311/ppar.10608.
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One of the less-known and less researched regions of the Carpathian Basin is Sepsiszék, which as part of Háromszék County, was one of Greater Hungary’s southeastern frontier-guard areas. After the Reformation, the population of the region became almost exclusively the followers of one of the Protestant tendencies with Calvinism gathering the most members. Due to the location of the area, Sepsiszék and its vicinity – the former territory of the county - is home to Europe’s easternmost Protestant communities to this day. Thanks to the unique cultural, religious and social environment, the unique development of local church designs notably enriches the history of Protestant religious architecture.The survey documentation of the area’s 32 Calvinist churches along with the schematic analysis of architectural history was carried out during the summer of 2015. The central question of the research was how did the assessed churches accommodate the spatial demands of the new liturgy, and what tendencies can be identified regarding the shaping of the space. The interior layout, galleries, additions to the buildings, the proportions in the floor plans and spatial ratios will be the topics through which these questions will be answered. After tracing the locally observable main characteristics of Protestant spatial formation, similarities with Hungarian and international examples will also be explored.
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Stanimirović, Mirko. "An interview with Božidar Manić about temples." Arhitektura i urbanizam, no. 51 (2020): 117–27. http://dx.doi.org/10.5937/a-u0-28739.
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This paper presents an interview with architect Božidar Manić. The topics of conversation are: the rules for building Serbian Orthodox churches in the 21th century, the relationship between tradition and traditionalism within Orthodox architecture, the influence of the liturgy on the shape of a church, the symbolism of the dome, the development of Serbian sacral architecture, and recommendations for designing modern churches. The talks within the project "Temples about temples" are designed to overcome the current crisis of criteria for building Serbian Orthodox churches, through the cooperation of all participants in the construction of a temple. Through conversations with contemporary architects, the author tries to advance the future creation of ambiences, cities and shrines. The most important conclusions of the conversation with Božidar Manić are: tradition and traditionalism are not the same, there are no binding rules related to the architectural form of a church, the temple space should enable undisturbed worship and the altar must be on the East, separated from the nave.
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Ikeda, Michel-Masafumi. "The Vision of Paradise for People in Difficulties: The Solution Shown by a Russian Architect." Resourceedings 2, no. 3 (September 13, 2020): 210. http://dx.doi.org/10.21625/resourceedings.v2i3.734.
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The Eastern Orthodox is a minority in Japan. However, it played an important role in the modernization of architecture. This paper aims to review their early architectural activities, and further to uncover the influences they received from the Russian architect whose name was Mikhail Aref'evich Shchurupov.The architecture of Orthodox Church in Japan began from the conversion of existing private houses to chapels. The eclectic chapels followed them. The Resurrection Cathedral in Tokyo, designed by Shchurupov, made an epoch in the history of architecture in Japan. Needless to say, its greatest impact was on the Orthodox Church itself. The believers opened their eyes to the authentic western architecture. The churches at each stage can be seen in Kashiwa, Ishinomaki, and Odate.Shchurupov left a number of churches in Russia. Three of them, still existing around St. Petersburg, show the trajectory on which he explored the lightweight and inexpensive structure to build churches for the economically challenged parishes facing difficult geological conditions. At first, he showed a structural rationalism. Then, he tried to build a dome with wood. At last, he reached to the steel structure.At the Orthodox Churches, the division of interior space is emphasized and visualized. Each space symbolically plays various roles during the liturgy, and gives the believers the pseudo experience of the visit of heaven, which enables them to pass the faith across generations. The fact that the early believers in Japan projected the vision of paradise to the nave of their chapel means that they had reached the essence of church architecture.Shchurupov's architectural features were suitable to the Orthodox Church in Japan in various difficulties as a religious minority. His idea and concept reflected in the Resurrection Cathedral enabled the believers in Japan to maintain their worship facilities for a long time.
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Zherdiev, Vitalii V. "Three Orthodox Temples of Lappeenranta — Art Through the Prism of History." Vestnik of Saint Petersburg University. Arts 10, no. 4 (2020): 609–36. http://dx.doi.org/10.21638/spbu15.2020.405.
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The article discusses the history of the creation of three Russian military churches in the Finnish city of Lappeenranta (Villmanstrand), representing vivid examples of stone and wooden architecture: churches of the Protection of the Virgin (The Intercession church) (1785), St. Nicholas the Thaumaturge (1904) and the Nativity of Christ (1914). A comprehensive analysis of the history of construction, architectural features and preserved decoration of the mentioned churches, which are significant for Russian Orthodox church construction abroad, is presented for the first time ever in the article. The Intercession Church in the Villmanstrand Fortress is the first brick freestanding Russian church built in Western Europe. The dynamics of changes of the temple as a result of reconstruction and renovation of the decoration is considered. For the first time, the church works of academician Nikanor Tiutriumov (1821–1877) for the Intercession Church are described and late painting interventions in unsigned images, which may also belong to Tiutriumov, are analyzed. The history of the construction of the wooden camp church of St. Nicholas the Thaumaturge is outlined, the uniqueness of which was expressed in the rich carved decor that distinguished the church from other Russian wooden churches in Finland. However, in the early 1920s the church was dismantled and only a few archival photographs make it possible to recreate its appearance. For the dragoon regiment stationed in Villmanstrand, a regiment church in the neo-Russian style was built according to Georgy Kosyakov’s design — the only example of this kind in Finland and one of the few examples of this style in Western Europe. After 1918, the church building was transferred to the Lutheran community and modified by the removal of domes and a radical redevelopment. The degree of embodiment of the architect’s original plan based on the author’s drawings and preserved photographs is analyzed.
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Zahner, Walter. "Interaction/Cooperation." Actas de Arquitectura Religiosa Contemporánea 7 (October 1, 2020): 2–23. http://dx.doi.org/10.17979/aarc.2020.7.0.6284.
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Since 2000, in Germany there are both new built churches (around one hundred, sixty for the Catholic dioceses) and abandoned churches (around 500-600 Catholic churches, as well as some 500 Protestants). The reconverted churches are a reality in the north and east of Germany, up to half the country. In the south, both in the Catholic dioceses and in the Protestant regional churches, there are only some first examples and initial debates on these issues. Most of the relevant works of architecture and art within ecclesiastical organizations are churches reorganized from the point of view of the portconciliar liturgy and for smaller parish groups. At present, there are already very good examples of all the indicated types of church architecture.
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Małecki, Paweł, Jerzy Wiciak, and Damian Nowak. "Acoustics of Orthodox Churches in Poland." Archives of Acoustics 42, no. 4 (December 20, 2017): 579–90. http://dx.doi.org/10.1515/aoa-2017-0062.
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Abstract An Orthodox church as a building expresses the Eastern Orthodox spirituality - all the details and general aspects have a deep and philosophical meaning. The architecture, being an illustration of the character of the Orthodox Church liturgy, has become a natural component of the cultural landscape of Poland and Eastern Europe. Acoustic research into Orthodox churches has so far been marginalized. Up to now, only a few churches of this type have been studied. The article is a review of the acoustic environment of churches in Poland. Churches, differing in terms of size, architectural style and other quantities, were chosen and acoustic measurements were made. The results of the measurements have been analyzed and collated. In particular, a detailed analysis and comparison was made for reverberation time as a function of frequency, due to the largest differences in this parameter between the rooms.
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Vukoszávlyev, Zorán. "Dümmerling’s Guiding Manual for Transformation of Sacred Spaces." Actas de Arquitectura Religiosa Contemporánea 6 (April 3, 2020): 144–55. http://dx.doi.org/10.17979/aarc.2019.6.0.6235.
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The Sancrosanctum Concilium approaches the artistic aspects of architecture from the liturgy, while the Charter of Venice approaches the architectural space from the principles of heritage protection. Both emphasized simplicity, functionality and readability. The significance and the combined effect of the two documents in the practice of church construction in Eastern Europe can be considered significant, since the possibility of redesigning the liturgical space arose mainly in the context of the renovation of historic buildings in the atheist political environment. The proof of this statement is presented in the manuscript of the architect Ödön Dümmerling. The architect - a practitioner of monument restorations and an admirer of the spirit of modern architecture - was called upon to draw up design guide after the Second Vatican Council was closed, making recommendations for new equipment for liturgical spaces.
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Horn, Andrew. "Andrea Pozzo and the Jesuit “Theatres” of the Seventeenth Century." Journal of Jesuit Studies 6, no. 2 (June 21, 2019): 213–48. http://dx.doi.org/10.1163/22141332-00602003.
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Considered within the context of Jesuit theatre and liturgy, and within the broader culture of spectacle and ritual in the era of Counter-Reform, the works of art and architecture commissioned by the Jesuits in the seventeenth century can be read as “theatres” of religious performance. This concept is given an ideal case study in the work of Jesuit artist Andrea Pozzo (1642–1709). In this essay I present Pozzo’s work within the context of ritual and prayer for which it was produced, focusing on two of his religious scenographies and two of his lesser-known painting projects. As I consider their use of allegory, emblems and symbols, visual narratives, spatial illusions, and architecture, I argue that both the scenographies and the permanent church decorations achieve persuasion through the engagement of the observer as a performer in a ritual involving both internal and external performance.
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Leto, Francesca. "Two Speeds: Time of Three Opera and Time of Users." Actas de Arquitectura Religiosa Contemporánea 6 (April 3, 2020): 68–83. http://dx.doi.org/10.17979/aarc.2019.6.0.6230.
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The form of faith is a living form, starting from a Urform, according to an aesthetics manner. Art and architecture have the same virtual capacity of ritual to create the counterintuitive world. We have two ways of transmitting faith: repetition and emotion. Repetition is the form of the ritual and emotion is what all the three opera must have in common. Liturgy, Art and Architecture are understood as opus. There is a temporal relationship between vital becoming of this three opera and the user. Forms change over time and they should continue communicating on the basis of a positive relationship with users. In the Italian context there is a fracture between some users and the making of the form. The fracture needs to be reconciled through an appropriate education of principals and worshippers. The methodological process for Alberto Gianfreda’s liturgical adaptation of Tolentini’s church in Venice is brought to attention.
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Sitindjak, Ronald Hasudungan Irianto, Laksmi Kusuma Wardani, and Diana Thamrin. "Study of Ornaments in the Inkulturatif Pangururan Catholic Church in Samosir, North Sumatera." Journal of Arts and Humanities 5, no. 7 (July 21, 2016): 49. http://dx.doi.org/10.18533/journal.v5i7.964.
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<p>In the early 1900s, Catholic missionaries arrrived on Batak land in North Sumatera, Indonesia and initiated the process of inculturation, which was subsequently marked by the adaptation of Catholic teachings with the Batak traditional culture. The adaptation involved the liturgy, music and others, inculding the architecture and interior design of their places of worship that continued even to the Modern times. This research aims to discover the meaning behind the ornaments on the exterior and interior of the Inkulturatif Pangururan Catholic Church in Samosir, North Sumatera, as a result of this inculturation process, through Panofsky’s research method known as Iconology. The elements analyzed include the façade, enclosure elements, transitional elements and filling elements. Results show that the ornaments contain various meanings inculturated from Catholic culture having biblical and theological themes incorporated into Batak Toba stylized ornamental forms. This shows that the goodness, truth and beauty of the Catholic faith had honored and adapted their teachings to the local wisdom and culture such that what appears in the implementation of the ornaments is a novel creative beauty and an embodiment of inculturation. </p>
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Chastina, Alla. "Architects and construction of religious buildings in Bessarabia (Second half of the XIX century - 1917)." Arta 30, no. 1 (August 2021): 33–40. http://dx.doi.org/10.52603/arta.2021.30-1.04.
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Religious architecture in Bessarabia from the beginning of the XIX century to 1917 is the subject of special research, since many architects, who worked during this period designed the buildings of monasteries, Orthodox, Catholic and Lutheran churches, chapels, houses of worship and synagogues. The creativity of such architects as Luka Zaushkevich, Alexander Bernardazzi, Leopold Scheidewandt, Karl Gasquet, George Cupcea, Mikhail Serotsinsky, Vladimir Tiganco, Lavrentii Lozinsky and others was especially vivid. Their heritage in church art is very diverse and worthy of careful study. On the one hand, the study opens new unknown pages related to the history of architecture and the creative practice in Bessarabia during the specified period. On the other hand, the newly discovered archival materials on this topic will be allow to reveal and supplement the authorship of many religious buildings in Bessarabia. The article examines both published materials and archival documents, some designs of religious buildings built in Bessarabia, due to which new facets of the talents of architects become more obvious and are of interest both for the history of architecture and, in general, for the preservation of the rich cultural heritage of the Republic of Moldova
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Trisno, Rudy, Antariksa Antariksa, and Purnama Salura. "PENGARUH FUNGSI RITUAL PADA BENTUK ARSITEKTUR Kasus Studi : Gereja Katedral, Gereja Theresia,Gereja Salib Suci, Gereja Santo Matias Rasul dan Gereja Stella Maris." NALARs 15, no. 1 (January 31, 2016): 25. http://dx.doi.org/10.24853/nalars.15.1.25-34.
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ABSTRAK: Fenomena pudarnya sakralitas bentuk gereja Katolik di seluruh dunia cukup merisaukan Paus Benedictus. Ternyata pudarnya sakralitas bentuk terjadi juga pada gereja Katolik di Indonesia khususnya Jakarta. Secara keseluruhan, permasalahan yang muncul dari fenomena ini adalah tidak terjalinnya relasi yang baik antara fungsi kegiatan dengan bentuk tersebut serta makna yang tampil dari relasi tersebut. Tarik-menarik antara kedua fungsi dan bentuk inilah yang kemudian dimaknai oleh manusia melalui pengamatan langsung bagi pengguna maupun pengamat arsitektur. Metode yang digunakan dalam penelitian ini adalah pertama, merekam fungsi liturgi dan bentuk pada gereja-gereja sebagai obyek studi kemudian menggambarkan kembali secara rinci agar dapat dianalisis seluruh bentukan arsitektur yang ada. Kedua, menggunakan gabungan pendekatan sakralitas dari Eliade, Hoffman, Jones, dan Martasudjita untuk menelusuri seluruh fungsi kegiatan sedangkan untuk identifikasi ornamen dengan pendekatan Peirce. Sedangkan untuk menelusuri ekspresi bentuk digunakan elaborasi dari pendekatan arsitektur Salura dan Evensen. Analisis ini berlandas pada pendekatan strukturalisme yang menelusuri struktur-dalamnya. Ketiga, setelah dianalisa semua kasus studi kemudian diperbandingkan pada setiap obyek studi mana struktur-dalam. Keempat, interpretasi relasi kegiatan dan konsepsi sakral pada obyek studi. Kelima, menyimpulkan bahwa pemaknaan relasional fungsi dengan sakralitas bentuk arsitektur gereja. Dengan demikian jika elemen sakralitas bangunan ini ada maka keseluruhan arsitektur gereja pada obyek studi dapat dikatakan memancarkan ekspresi bentuk sakral yang sarat dengan nilai ke-Katolik-an. Kata kunci: Relasi, Fungsi dan bentuk, Ekspresi, Sakralitas, Gereja Katolik ABSTRACT: The phenomenon of fading off form “sakralitas” of Catholic Church in the world has worried Paus Benedictus. Evidently, this phenomenon had been happened to Catholic Church in Indonesia, particularly Jakarta. Generally, problem has been occurred from this phenomenon is because there is no well relation between activities function with the form as well as the appearance meaning from that relation. The attraction between these both function and form, will be interpreted by people through direct observation for user as well as architectural researcher. This research will use some methods, firstly, will record liturgy function and form on the conducted churches as case studies then will describe in detail, thus could be analyzed all the existing architecture form. Secondly, will use combination “sakralitas” approach from Eliade, Hoffman, Jones and Martasudjita to explore all activities function, although to identify ornament will use Peirce approach. On the otherhand, to explore form expression will use elaboration from architectural approach of Salura and Evensen. This analysis will be based on to structuralism approach, which will explore the inner structure. Thirdly, after analysis process, all case studies will be compared each other on each study object which known as inner-structure. Fourthly, interpretation of activities relation and sacred conception on study objects. Fifthly, to conclude the signification of function relational with form sakralitas of church architecture. Therefore, if this building element’s sakralitas exist, then all the church architecture on study objects could be said, they are throwing off the expression of sacred form which full of Catholic’s values. Keywords: relation, function and form, expression, sakralitas, Catholic Church
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Martens-Czarnecka, Małgorzata. "The Christian Nubia and the Arabs." Studia Ceranea 5 (December 30, 2015): 249–65. http://dx.doi.org/10.18778/2084-140x.05.08.
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Nubia constituted the area in the Nile Valley in the present day Sudan, the area which spread from the first cataract up to the place where the White Nile meets the Blue Nile. The area was inhabited by the population using a common language – Old Nubian. In the second half of the sixth century thanks to the missions send by the Byzantine Court, Nubia accepted Christianity as a state religion. Nubia immediately found itself in the area of influence of Byzantine culture. Byzantine administration, liturgy of the Eastern Church and the Greek language were introduced. In 641 the Arab conquest of Egypt took place. Soon after that in 642, the Arab army entered the Nubian territory and from this date centuries of clashes and peace treaties characterized relations between Nubians and Arab peoples. The 13th century marks slow decline of the kingdom of Nubia. Hostile Negro tribes from the South and South-West appear in the Mid Valley of Nile. Fights weaken the kingdom; slow islamization of the country follows, royal rule and Christian faith falls and together with those culture and arts deteriorates. The history of military as well as political or commercial Nubian-Arabic contacts over entire period of existence of Christian kingdom of Nubia undoubtedly had to bring about certain artistic trends in Nubia originating from rich heritage of Muslim culture. The culture of Christian Nubia originally based to considerable extent on Byzantine art, in course of time, subjected to more and more intense Arabic influence, significantly changed. Arabic components seen in Nubian church architecture, wall painting and art crafts became predominant, which over following centuries led to creation of Arabic culture of the contemporary Sudan.
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Bayliss, Richard. "The Alacami in Kadirli: Transformations of a Sacred Monument." Anatolian Studies 47 (December 1997): 57–87. http://dx.doi.org/10.2307/3642900.
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Situated on the outskirts of the modern town of Kadirli is the best preserved late Roman church in eastern Cilicia. Its characteristics of design and construction are of pivotal significance for addressing the development of early Christian architecture in the region, as it represents the archetype of a definable group of churches in the upper Cilician plain, which link the building traditions of Syria with those of Anatolia and the southern shores. As it stands today, this structure known as the Alacami displays over a millennium and a half of local history, the liturgy of three different faiths and even more transitional building phases. In 1949 a full measured survey of the building was conducted by Michael and Mary Gough who in the same year were working at nearby Anazarbus. The results were never published and remained lost until 1994 when work commenced on cataloguing the Gough archive. The following study presents the full details of the Gough's survey for the first time and provides a detailed discussion of the monument in context, charting its development from the Roman period to the present day.
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Rodley, Lyn. "(R. J.) Mainstone Hagia Sophia: architecture, structure and liturgy of Justinian's great church. London: Thames and Hudson, 1988. Pp. 288, [305] illus. (incl. plates, text figs, maps, plans). £35.00." Journal of Hellenic Studies 109 (November 1989): 273. http://dx.doi.org/10.2307/632137.
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Czerni, Krystyna. "Malarska „dwujęzyczność” Jerzego Nowosielskiego. Związki między abstrakcją a ikoną w monumentalnych projektach sakralnych." Sacrum et Decorum 13 (2020): 48–80. http://dx.doi.org/10.15584/setde.2020.13.4.
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The sacred art of Jerzy Nowosielski, an outstanding Polish painter of the second half of the 20th century, is an example of the creative continuation of the Byzantine tradition in Poland, but also an embodiment of the debate with the painting tradition of the East and with the experience of the Church. Both in theory and in painting practice, the artist redefined the concept of the icon, attempting to expand its formula so that it not only spoke of the Kingdom, but also included the image of the earthly, imperfect reality of the pilgrim Church. In his designs of sacred interiors for churches of various Christian denominations, Nowosielski wanted to combine three theological disciplines and their respective ways of representation: Christology, sophiology and angelology. Beside a classical icon, called by the painter a “Christological- Chalcedonian” icon, Nowosielski demanded a “sophiological” icon, bringing into the space of a church an earthly, painful reality, traces of inner struggle and doubt – hence the presence of doloristic motifs in his icons. The “inspired geometry” also became a complement to the holy images; the artist noticed a huge spiritual potential in abstract painting, to which he eventually assigned the role of icon painting. The poetic concept of “subtle bodies” – abstract angels testifying to the reality of the spiritual world – drew from the early Christian theological thought, which argued about the corporeality of spiritual entities, from Byzantine angelology, the tradition of theosophy and occultism, but also from the art of the first avant-garde, especially that from Eastern Europe, which inherited the Orthodox cult of the image. Nowosielski’s bilingualism as a painter – practicing abstraction and figuration in tandem, including within the church – paralleled the liturgical practice of many religious communities using different languages to express different levels of reality: human affairs and divine affairs. The tradition of apophatic theology, proclaiming the truth about the “unrepresentability” of God, was also important in shaping Nowosielski’s ideas. For Nowosielski’s monumental art, the problem of the mutual relationship between painting and architecture proved crucial. The artist based his concept on the decisive domination of painting over architecture and the independence of monumental painting. His goal was the principle of creating a sacred interior as a holistic, comprehensive vision of space which leads the participants of liturgy “out of everyday life” and into a different, transcendent dimension, in which the painter saw the main purpose of sacred art. From his first projects from the 1950s till the end of his artistic practice Nowosielski tried to realize his own dream version of the “ideal church”. In many of his projects he introduced abstraction into the temple, covering the walls, vaults, presbyteries, sometimes even the floors with a network of triangular “subtle bodies”. Forced to compromise, he introduced sacred abstraction into murals, as accompanying geometries, or into stained glass windows. The interiors, comprehensively and meticulously planned, were supposed to create the effect of “passing through”, “rending the veil” – from behind which a new, heavenly reality dawned. In practice, it was not always possible to achieve this intention, but the artist’s aim was to create an impression of visual unity, a sense of “entering the painting”, of being immersed in the element of painting. Painting in space was supposed to unite a broken world, to combine physical and spiritual reality into an integral whole. When designing sacred interiors, Nowosielski used the sanctity of the icon, but also the pure qualities of painting which were to cause a “mystical feeling of God’s reality”. The aim of sacred art understood in such a way turned out to be initiation rather than teaching. In this shift of emphasis Nowosielski saw the only chance for the revival of sacred art, postulating even a shift of the burden of evangelization from verbal teaching to the work of charismatic art.
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Belén Gómez, María. "La rehabilitación de un ícono de la modernidad la Iglesia Mater Misericordiae = The rehabilitation of an icon of modernity the Church Mater Misericordiae." Anales de Edificación 3, no. 3 (December 28, 2017): 20. http://dx.doi.org/10.20868/ade.2017.3675.
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La iglesia Mater Misericordiae es un edificio sacro levantado en Baranzate (Milán) a finales de la década de los años 50.Supone la culminación de una serie de experiencias que pretendían la renovación de la liturgia y, con ello, la renovación de laarquitectura. Su construcción, enmarcada dentro de un plan más amplio acometido por el Arzobispado de Milán, supuso un gran avance en varios campos relacionados, principalmente, con la modernidad de la arquitectura sacra, la construcción y las nuevas tecnologías. Incorpora el uso no solamente del hormigón, material poco utilizado hasta ese momento en construcciones sacras, sino que, además, introduce un sistema de prefabricación y postesado “In situ” para la ejecución de la estructura que muestra el interés de los técnicos de la época por hallar nuevos medios de sistematización de la construcción. El sistema constructivo de cerramiento utilizado permite delimitar el espacio litúrgico mediante una piel translúcida que rodea el espacio, permitiendo la entrada de luz natural durante el día y la iluminación del entorno durante la noche. La presente investigación trata sobre las diferentes soluciones que se han empleado en la resolución de las fachadas de cerramiento, haciendo especial hincapié en la solución utilizada en la última rehabilitación a la que ha sido sometida. En este caso se han tratado de incorporar las tecnologías modernas más avanzadas para la resolución de los problemas que esta presentaba pero respetando al máximo la idea del proyecto original.AbstractThe church Mater Misericordiae is a sacred building raised in Baranzate (Milan) at the end of the decade of the 50s. It supposes the culmination of a series of experiences that were claiming the renovation of the liturgy and, with it, the renovation of the architecture. His construction, framed within a broader plan undertaken by the Archbishopric of Milan, supposed a great advance in several fields related, principally, with the modernity of the sacred architecture, the construction and the new technologies. It incorporates the use not only of concrete, material little used until that moment in sacred constructions, but also, it introduces a prefabrication and post-tensioned system "In situ" for the execution of the structure that shows the interest of the technical personnel of the epoch to find new means of systematizing of the construction. The constructive system of used closing allows to delimit the liturgical space by means of a translucent skin that surrounds the space, allowing the entry of natural light during the day and the lighting of the environment during the night. The present investigation treats on the different solutions that have used in the resolution of the fronts, doing special support in the solution used in the last rehabilitation to which it has been submitted. In this case they have tried to incorporate each other the modern technologies most advanced for the resolution of the problems that this one was presenting but respecting to the maximum the idea of the original project.
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Roppelt, Rowena. "Leaders for the Liturgical People: Shaping Students for Ministry in the Twenty-First Century." Studia Liturgica 35, no. 2 (September 2005): 240–52. http://dx.doi.org/10.1177/003932070503500208.
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In my first year of undergraduate studies at the University of Toronto, I enrolled in a course entitled “The Christian Imagination.” It introduced the students to Christian art across the ages, and it was taught by a very clever and energetic woman with a French accent. It was a mind-bending experience. In the course of the semester, Dr Langan showed us hundreds of slides of sculpture, painting and architecture. Quite apart from the incredible amount of material, it was the challenge to appreciate the great variety of expressions of the Christian experience that took my breath away. At the end of the semester, I vowed never to take another course in the Christianity and Culture program. It was just too stressful. Yet the next semester I found myself signing up for more of the same and after four years graduated with a major in the program. I have reflected upon what it was about this program which caught and held me. I believe that I was fascinated by the challenge to see Christianity from new and varying perspectives, to understand and evaluate the ways in which the Christian faith has been and continues to be lived in differing situations, and to imagine how the church might faithfully and creatively live the faith in the future. It was this fascination that brought me to the study of liturgy and which I dream of passing on to others.
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Ousterhout, Robert, and Dmitry Shvidkovsky. "Kievan Rus’." Scientific and analytical journal Burganov House. The space of culture 17, no. 1 (March 10, 2021): 51–67. http://dx.doi.org/10.36340/2071-6818-2021-17-1-51-67.
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Robert Ousterhout, the author of a magnificent book “Eastern Medieval Architecture. The Building Traditions of Bizantium and Neighboring Lands”, published by Oxford University Press in 2019, the remarkable scholar and generous friend, was so kind to mention in his C. V. on the sight of Penn University (Philadelphia, USA) that he had been the Visiting professor of the Moscow architectural Institute (State Academy), as well as simulteniously of the Hebrew University in Jerusalem, but he did not say that he had been awarded the degree of professor honoris causa by the academic council of MARHI. Unfortunately, his life in muscovite hostel, nevertheless we tried to do our best to provide the best possible accommodation in a “suit” with two rooms with a bathroom, had been radically different from the wonderful dwelling chosen for the visiting teaching stuff from MARHI in the University of Illinois. And Robert called our hostel “Gulag”. He had been joking probably. It is impossible to overestimate the role of professor Robert Ousterhaut in the studies of the history of Byzantine art. At the present day he is the leader in the world studies of the architecture of Byzantium, the real heir of the great Rihard Krauthaimer and Slobodan Curcic, whom he had left behind in his works. His books are known very well in Russia. R. Ousterhaut graduated in the history of art and architecture at the University of Oregon, the Institute of European Studies in Vienna, Universities of Cincinati and Illinois. Не worked at the department of history of art at the University of Oregon, department of history of architecture at the University of Illinois, had the chair of the history of architecture and preservation at the University of Illinois, which is considered, as we know, one of the twenty best American universities. He always worked hard and with success. When I had finished reading my course of the history of Russian architecture at Illinois, he said: “Yes, next term the students are to be treated well…” Now he is professor emeritus of the history of art in the famous Penn University. He taught the courses of the “History of architecture from Prehistory to 1400” and “Eastern medieval architecture” as well as led remarkable seminars devoted to the different problem of the history of architecture of the Eastern Meditarenian, including the art of Constantinopole, Cappadoce, meaning and identity in medieval art. His remarkable 4-years field work at Cappadoce, which he described in several books, and his efforts of the preservation of the architectural monuments of Constantinopole are very valuable, Among his books one certainly must cite Holy Apostels: Lost Monument and Forgotten Project, (Washingtone, D. C., 2020); Visualizing Community: Art Material Culture, and Settlement in Byzantine Cappadocia, Dumbarton Oaks Studies 46 (Washington, D. C., 2017); Carie Camii (Istambul, 2011); Architecture of the Sacred: Space, Ritual, and Experience from Classical Greece to Byzantium (Cambridge University Press, 2012), ed. with Bonna D. Wescoat; Palmyra 1885: The Wolfe Expedition and the Photographs of John Henry Haynes, with B. Anderson (Istanbul: Cornucopia, 2016) John Henry Haynes: Archaeologist and Photographer in the Ottoman Empire 1881–1900 (2nd revised edition, Istanbul: Cornucopia, 2016). Several of his books were reprinted. He edited Approaches to Architecture and Its Decoration: Festschrift for Slobodan Ćurčić (Aldershot: Ashgate, 2012), with M. Johnson and A. Papalexandrou. His outstanding book Мaster Builders of Byzantium (2nd paperback edition, University of Pennsylvania Museum Publications, 2008) was translated into Russian and Turkish. In this work Robert Ousterhaut for the first time in English speaking tradition is regarding the architecture of Bazantium from the point of view of building art and technology. On the base of the analysis of primary written sources, contemporary archeology data, and careful study of existing monuments the author concludes that the Byzantine architecture was not only exploiting the traditions, but was trying to find new ways of the development of typology and construction techniques, which led to transformation of artistique features. Professor R. Ousterhaut discusses the choice of building materials, structure from foundations to vaults, theoretical problems which solved the master masons of Byzantium. In his recent book Eastern Medieval Architecture: The Building Traditions of Byzantium and Neighboring Lands, (Oxford University Press, 2019) Robert Ousterhaut is going further. He writes in the introduction: “I succeded my mentor at the University of Illinois… I had the privilege and challenge of teaching “Early Christian and Byzantine Architecture” to generations of the architecture students inspired my 1999 book, Master Builders of Byzantium. The work of Robert Ousterhaut, published 2019, is the new and full interpretation of the architectural heritage of Byzantine Commonwealth. The author devoted the first part of his book to Late Antiquity (3–7 centuries), beginning with the relations of Domus Ecclesiastae and Church Basilica, then speaking of Konstantinopole and Jerusalem of the times of St. Constantine the Great, liturgy, inspiration, commemoration and pilgrimage, adoration of relics as ritual factors which influenced the formation of sacred space, methods and materials, chosen by the Bizantine builders with their interaction of the mentality of the East and West. Special attention is given to dwelling, urban planning and fortification Naturally a chapter is devoted to Hagia Sophia and the building programs of Emperor Justinian. The second part speaks of the transition to what is called Middle Byzantine architecture both in the capital and at the edges of the Empire. The third part tells the story of the 9th, 10th and 11th centuries and includes the rise of the monasteries, once more secular and urban architecture, the craft of church builders. Churches of Greece and Macedonia, Anatolia, Armenia and Georgia, as well as of the West of Byzantium – Venice, Southern Italy and Sicily. The chapter is devoted to Slavonic Balkans – Bulgaria and Serbia and Kievan Rus. The last fourth part of the book describes the times of the Latin Empire, difficult for Byzantium, to the novelty of the architecture of Palewologos and the development of Byzantine ideas in the Balkans and especially in the building programs of the great powers of the epoch Ottoman Empire and Russia. There is a lot more to say about the book of professor Robert Ousterhaut, but we have to leave this to the next issue of this magazine, and better give the space to the words of the author – his text on the architecture of Kievan Rus.
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Luxford, Julian. "Liturgy and architecture. From the early Church to the Middle Ages. By Allan Doig. (Liturgy, Worship and Society.) Pp. xxii+224 incl. frontispiece and 48 figs+10 colour plates. Farnham–Burlington, Vt: Ashgate, 2009 (first publ. 2008). £17.99 (paper). 978 0 7546 5272 4 (cloth), 978 0 7546 5274 8." Journal of Ecclesiastical History 62, no. 2 (March 4, 2011): 355–56. http://dx.doi.org/10.1017/s0022046910003301.
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Reece, Richard. "Liturgy and Architecture: from the early church to the Middle Ages. By Allan Doig. 242mm. Pp xxii + 224, 49 b&w and 10 col ills. Aldershot, Hants: Ashgate Publishing Limited, 2008. ISBN 9780754652724. £55 (hbk). ISBN 9780754652748. £15.99 (Pbk)." Antiquaries Journal 88 (September 2008): 450–51. http://dx.doi.org/10.1017/s0003581500001700.
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Nowiński, Janusz. "„W klasztorze wieść życie pielgrzyma” – interpretacja architektury i wnętrza kościoła św. Richariusza w Centuli (St. Riquier) w czasach Angilberta (799-814) w kontekście liturgii stacyjnej i kultu relikwii." Seminare. Poszukiwania naukowe 2021(42), no. 2 (June 30, 2021): 143–57. http://dx.doi.org/10.21852/sem.2021.2.12.
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Decyzją Karola Wielkiego w Centuli, nad grobem św. Richariusza, został wzniesiony jeden z najwspanialszych kościołów w państwie karolińskim o nowatorskiej architekturze. Zgromadzono w nim imponującą kolekcję relikwii, reprezentująca świętości totius christianitatis, z najliczniejszą grupą relikwii Chrystusa-Zbawiciela. Relikwie miały nadać fundacji wyjątkową jakość i atrybut „miejsca świętego”. Opis liturgii sprawowanej w Centuli informuje, że relikwie zdeponowane w jedenastu ołtarzach i czterech memoriach uobecniały w nich najważniejsze miejsca i zdarzenia z Ziemi Świętej związane z vita Christi, a także osoby świętych. Mnisi, w ramach praktyki circuire altaria, na podobieństwo pielgrzymów nawiedzali ołtarze i ich relikwie. Wzorem była tu stacyjna liturgia rzymska oraz iroszkocka praktyka peregrinatio.
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"Liturgy and architecture: from the early church to the Middle Ages." Choice Reviews Online 46, no. 07 (March 1, 2009): 46–3655. http://dx.doi.org/10.5860/choice.46-3655.
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Marinis, Vasileios. "The Historia Ekklesiastike kai Mystike Theoria: a symbolic understanding of the Byzantine church building." Byzantinische Zeitschrift 108, no. 2 (January 1, 2015). http://dx.doi.org/10.1515/bz-2015-0022.
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AbstractThis paper offers a close reading of the passages in the Historia Ekklesiastike kai Mystike Theoria, a liturgical commentary attributed to Germanos I, patriarch of Constantinople (d. 730), that pertain to the church building. The Historia’s interpretation is highly symbolic, steeped in scripture and dependent on earlier and contemporary theological thought. On occasion, the text sheds light on actual architectural developments, as in the case of the skeuophylakion. On the whole, however, the discussion of architecture is rather vague. I argue that the Historia is part of a long exegetical tradition on the liturgy that disregards the functional aspects of church buildings, a disconnect enabled by the adaptability of Byzantine liturgical rites.
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Fitch, David E. "The way worship works in mission: Proposing an alternative to the standard account." Missiology: An International Review, April 30, 2021, 009182962110117. http://dx.doi.org/10.1177/00918296211011733.
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This article examines the relationship of worship to mission in the life of the church. How does worship shape the Christian for mission and the work of God’s justice in the world? The article sketches what the author contends to be “the standard account” of how worship works within North American mainstream evangelical Protestantism, drawing on several authors who write on spiritual formation, liturgy, and cultural engagement. Exemplary of this standard account is the influential theology of church and culture found within neo-Calvinism. By parsing the social architecture of these authors, this article reveals its strengths and weaknesses—an analysis that can be applied more widely to Protestantism as a whole in North America. Then, the article moves on to propose an alternative account for the relationship of worship to mission that overcomes the weaknesses of the standard account. This alternative approach is labeled “faithful presence,” an approach which has affinities with an Anabaptist approach to worship and mission.
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De Villiers, Pieter G. R. "Aesthetics, mysticism and the art of living." HTS Teologiese Studies / Theological Studies 72, no. 4 (May 31, 2016). http://dx.doi.org/10.4102/hts.v72i4.3465.
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This article analyses aesthetics and mysticism in the writings of Albert Geyser, the prominent South African theologian who is mostly known for his brave, uncompromising struggle against the apartheid system. In the first part of the article, brief introductory comments are made about Geyser’s theological and political role in South Africa in the light of his Protestan tcontext and his opposition to apartheid. It is then investigated how his reputation as a Biblical scholar and his protracted, much publicised stance against apartheid obfuscate his remarkable interest in aesthetics and mysticism and explains why his other theological interests and especially his interest in mysticism have not yet been researched. In the second part of the paper Geyser’s mystical interests are investigated by analysing his comments on church architecture, worship, music, liturgy and his pioneering translation of Thomas á Kempis’ Imitatio Christi.
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Marosi, Ernő. "Remarks on the Question of the So-Called Monastic Schools of Architecture." Historical Studies on Central Europe 1, no. 1 (April 30, 2021). http://dx.doi.org/10.47074/hsce.2021-1.01.
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The hypothetical interpretation of the beginnings of monastic architecture in Hungary in the eleventh century as corresponding to the Italian origin of the clergy cannot be proved, and the beginning of the dominating role of a three-apsidal, axially organized basilica in Hungary cannot be traced earlier than the last quarter of the eleventh century.The dominance of the type, which has been considered in Hungarian art history since the nineteenth century as a “national” building type, can be dated as of the last quarter of the eleventh century. It is not only the problem of monastic architecture, because the same typology—in other dimensions—is also characteristic of other church buildings—cathedrals and provostry churches.However, it is apparent that both in the case of monasteries and in other genres of church buildings, the Hungarian solutions are minimal and less complicated. There is an important written source concerning the value of the patronage of church buildings. The so called Estimationes communes iuxta consuetudinem regni (i.e. common estimations) go back to Romanesque times and they were still accepted in 1516 by the printed edition of Decretum tripartitum by István Werbőczy. The classification of ecclesiastic property was governed by two criteria: the value of the building and the possession of the right of sepulture.The architectural heritage of the Cistercians appears as a rather uniform stylistic phenomenon. This uniformity was interpreted in the art historical literature as a contribution by the order supposedly having an own building organization. But the hypothesis that the workers, the conversi of the order were among the other craftsmen and builders of churches and monasteries of the order has been revealed as a legendary interpretation of art history.The most active period of the Hungarian Cistercians began with the privileges given by King Béla III to the Order and with the foundation of three abbeys in the 1180s. The very rational and well-organized building activity of the Cistercians and also the effective control coming from the top of their centralized organization has been presumably considered as unusual by contemporary observers.To prevent the excessive influence of secular people and to improve the education of the monks, the centralized organization was proposed for the Benedictines too. This reform was initiated by popes of the time about 1200, Innocent III and also Honorius III. It seems that the necessary reform as well as the solution of the problems by adopting the experience of the Cistercians influenced the spread of the regular monastery building under the evident intention of imitation. Quadratic interior courts framed by open galleries and surrounded by the most important common rooms, including the chapterhouse and refectory of the monastery, appear evidently from about 1220 in Hungarian Benedictine architecture.The Praemonstratensians, a reform order, was a nearly contemporary parallel to the Cistercians. In the twelfth century and also at the beginning of the thirteenth they were in fact in a straight contact with the Cistercians, who exercised a kind of control over the order, whose rules were not derived from the Benedictine rules but were based on the rules of St. Augustine. Mainly the centralized organization of the order could correspond to the Cistercian model. The main difference between these reform orders concerned their patronage. While the Cistercians in Hungary were mostly under royal patronage (mainly after the visit of a delegation of Cîteaux to the Court of Béla III in 1183), the Praemonstensian constructions were mainly foundations by private patrons.It seems that contrary to partly surviving hypotheses and forgeries in old art historical literature, no royal court and also no monastic order was practically involved in architecture or building praxis, including schools of architecture. Their relationship was different, corresponding to their liturgy and to the representation of their self-image.