Pub Date : 2022-03-01DOI: 10.1177/00393207221081304
Arnaud Montoux
Marie Noël, a 20th century poetess from Auxerre in the Burgundy region of France, said “The Saint offers sacrifice. The Artist furnishes the victim.” The quest to understand the far-reaching root system of the liturgy inevitably brings us into contact with the artist, and with all the words, colors and heavy stuff of the world that shape the artist’s work. It is the artist who harvests from deep within the human person the wheat, the dew and the lees of the world, to bring them in offering. Whether or not humanity is conscious of this ascensional mission of the liturgy, human beings must remain open above all to what the ministry of the artist reveals about their universal mission. It is in the words of the poet and in the flesh-encrusted canvases that the ascent begins, that the momentum builds, and so makes possible the eminently human activity which is liturgy.
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Pub Date : 2022-03-01DOI: 10.1177/00393207221081301
François Cassingena-Trévedy
Argumentaire: Au-delà d'une simple mobilisation des diverses expressions artistiques au service de son exercice ordinaire, la liturgie chrétienne se manifeste essentiellement comme une poïétique de la foi. Cette poïétique ne fait pas seulement système avec la dogmatique et l'éthique chrétiennes: à bien des égards, elle transcende ces deux autres versants. Au milieu de toutes les interrogations contemporaines qui concernent le croire et le vivre, la poïétique multiséculaire du célébrer représente une ressource inestimable. La vérité seule ne peut s'imposer, pas davantage qu'elle ne le doit. Plus que jamais la traduction symbolique de la foi, autrement dit la médiation esthétique, mise en pratique communautaire, apparaitra comme digne de foi.
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Pub Date : 2022-03-01DOI: 10.1177/00393207221085436
M. Klomp
Liturgy as art is one of the various particular relationships between liturgy and the arts. This article engages with “liturgy as public art” and addresses the question “how can urban liturgies be understood as public art in secularizing societies?” It presents three examples of contemporary “urban liturgies,” against the backdrop of the transfer and transformation of Christian liturgical forms and repertories from the church to the wider culture in post-Christian, post-secular Western societies. It then offers an anthropological interpretation of such liturgies, using the notion of play, but highlighting an aspect of play that has, so far, remained underexposed in liturgical studies. Afterwards, it unpacks how this anthropological interpretation is anchored in a Lutheran theological view of God as a playful God (deus ludens), which also gives theology a critical position vis-à-vis liturgical practices. The last section answers the central question by concluding that urban liturgies are alternative occasions that offer a playfield emphatically addressing and challenging people’s hermeneutic capacity to meaningfully deal with the sacred, thus inviting them into God's play. Offering playfields is how these urban liturgies serve the common good: they open up the possibility for people to be drawn into God's play. These liturgies are not just rituals—they are a public art: the art of playing.
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Pub Date : 2022-03-01DOI: 10.1177/00393207221075780
Dominik Abel
Celebrations of blessing for newborns are examples of a group of services that have a high sensitivity toward a certain milieu, social context, or occasion. These services are described as “second program” or alternative services. But are they actually “liturgy” at all? In order to approach this question, this article first analyzes various excerpts from an interview. As a next step, a historical discourse is outlined that was dedicated to a similar question. Already in 1933, the theologian Josef Andreas Jungmann raised this question in his article “What is Liturgy?”. A conclusion connects both approaches: The close connection between liturgy and church classifies these celebrations as liturgy. In a reverse direction these liturgies also raise the question of an image of church that emerges from these celebrations. Die Segensfeiern für Neugeborene sind ein Beispiel für eine Gruppe von Feiern, die eine hohe Sensibilität für eine bestimmte Zielgruppe oder einen bestimmten Anlass besitzen. Diese Gottesdienste werden als „Zweites Programm“ bezeichnet. Aber handelt es sich bei diesen Feiern um Liturgie? Um sich dieser Frage zu nähern, analysiert der Beitrag zunächst verschiedene Auszüge aus einem Interview. In einem nächsten Schritt wird ein historischer Diskurs skizziert, der sich einer ähnlichen Fragestellung widmete. Bereits 1933 stellte der Theologe Josef Andreas Jungmann in seinem Artikel “Was ist Liturgie?” die Frage nach dem Rang der Andachten. Ein Fazit verbindet beide Ansätze: Die enge Verbindung von Liturgie und Kirche ordnet diese Feiern der Liturgie zu. Umgekehrt stellt sich bei diesen Liturgien auch die Frage nach einem Bild von Kirche, das aus diesen Feiern erwächst.
新生儿祝福的庆祝活动是对特定环境、社会背景或场合具有高度敏感性的一组服务的例子。这些服务被描述为“第二程序”或替代服务。但它们真的是“礼拜仪式”吗?为了探讨这个问题，本文首先分析了采访中的各种摘录。作为下一步，概述了一个历史论述，致力于类似的问题。早在1933年，神学家Josef Andreas Jungmann就在他的文章“什么是礼仪?”中提出了这个问题。一个结论将这两种方法联系起来:礼仪和教会之间的密切联系将这些庆祝活动归类为礼仪。相反，这些礼拜仪式也提出了从这些庆祝活动中出现的教会形象的问题。Die segensfeern f r Neugeborene sind in Beispiel f r eeine grouppe von feern, Die eeine hoppe Sensibilität f r eeine bestifne grouppe odereinen bestimen Anlass besitzen。Diese Gottesdienste werden又称“Zweites program”。阿伯尔说:“这是我在礼拜仪式上遇到的一个问题。”拜尔基·弗拉格·祖nähern，拜尔基分析专家zunächst拜尔基·奥斯格·奥斯格采访。In einem nächsten Schritt wind In historischer Diskurs skizziert, der sich einer ähnlichen Fragestellung widmete。1933年，约瑟夫·安德烈亚斯·荣曼在塞纳姆·阿蒂克尔的《我是礼拜者吗?》“die Frage nach dem Rang der Andachten”。Ein Fazit verindet beide Ansätze: Die enge verindung von Liturgie and Kirche ordnet diese feern der Liturgie zu。1 .我要用我的耳朵来研究我的耳朵，我要用我的耳朵来研究我的耳朵。
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Pub Date : 2022-03-01DOI: 10.1177/00393207221081303
Arnaud Montoux
Marie Noël, a 20th century poetess from Auxerre in the Burgundy region of France, said “The Saint offers sacrifice. The Artist furnishes the victim”. The quest to understand the far-reaching root system of the liturgy inevitably brings us into contact with the artist, and with all the words, colours and heavy stuff of the world that shape the artist’s work. It is the artist who harvests from deep within the human person the wheat, the dew and the lees of the world, to bring them in offering. Whether or not humanity is conscious of this ascensional mission of the liturgy, human beings must remain open above all to what the ministry of the artist reveals about their universal mission. It is in the words of the poet and in the flesh-encrusted canvases that the ascent begins, that the momentum builds, and so makes possible the eminently human action which is liturgical action.
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Pub Date : 2022-02-14DOI: 10.1177/00393207221075727
Dominik Abel
Celebrations of Blessing for newborns are examples of a group of services that have a high sensitivity toward a certain milieu, social context, or occasion. These services are described as “second program” or alternative services. But are they actually “liturgy” at all? In order to approach this question, this article first analyzes various excerpts from an interview. As a next step, a historical discourse is outlined that was dedicated to a similar question. Already in 1933, the theologian Josef Andreas Jungmann raised this question in his article “What is Liturgy?”. A conclusion connects both approaches: The close connection between liturgy and church classifies these celebrations as liturgy. In a reverse direction these liturgies also raise the question of an image of church that emerges from these celebrations.
新生儿祝福庆祝活动是对特定环境、社会背景或场合具有高度敏感性的一组服务的例子。这些服务被描述为“第二程序”或替代服务。但它们真的是“礼拜仪式”吗?为了探讨这个问题，本文首先分析了采访中的各种摘录。作为下一步，概述了一个历史论述，致力于类似的问题。早在1933年，神学家Josef Andreas Jungmann就在他的文章“什么是礼仪?”中提出了这个问题。一个结论将这两种方法联系起来:礼仪和教会之间的密切联系将这些庆祝活动归类为礼仪。相反，这些礼拜仪式也提出了从这些庆祝活动中出现的教会形象的问题。
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Pub Date : 2022-02-07DOI: 10.1177/00393207221075721
Gerald C. Liu
The article responds to a keynote address by David Brown from the 2021 Congress of Societas Liturgica hosted online from Notre Dame in July 2021. Brown's address explores liturgical constraints and freedom with regard to liturgical poesis, tradition, and art, with special attention to stained glass. The response argues for a more nuanced and panoramic view of liturgical meaning and history, especially given the twists and turns that established liturgical practices took as they came to be, such as Thomas Cranmer's Prayer of Humble Access and the Agnus Dei as mentioned by Brown. It also argues for more attention to be given to the contemporary trend of decline plaguing many congregations around the world for the sake of liturgical openness, hospitality, and suppleness. The response looks to the invention of the Common Era Time according to the liturgical calendar, the Christianization of leitourgia, and the long history of Crusade violence in order to support its recommendations for foregrounding in liturgical practice and expectations and a healthy sense of liturgical mystery and charity. The response also references the artwork of Arthur Jafa and Titus Kaphar as models for liturgists to consider in order to imagine new kinds of liturgical engagement with art that not only work within sacred genres such as stained glass, but also dare to consider the theological profundity of pieces not readily identifiable as conveying knowledge of God. The response aims to widen liturgical welcome and concludes by raising the question of English as a centralizing language for an international liturgical congress.
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Pub Date : 2022-02-07DOI: 10.1177/00393207221075788
Marcia McFee
Our ancient ancestors instinctively enacted their stories onto and within walls that resonated with the sound, and reflected the light, of their gatherings. Those of us who care for the liturgical needs of our communities have the same task and, I believe, are instinctively compelled by the same Spirit. We call on all of the senses through every expressive medium we have at our disposal—the arts of color, texture, line, movement, intonation, inflection, crescendo and legato. We curate symbolically-significant occasions and act as prompters for the participation of the people in their ritual art-making. We do it because it is what we have always done, because we can’t not do it, and if we are not doing it, it is because it is being actively suppressed by our own or other's notions about what is “right and good.” The relationship of liturgy and the arts is not primarily a conversation between entities, but an inextricable part of our very anima, our pneuma. The stories handed down to us come alive when we come alive.
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Pub Date : 2022-01-31DOI: 10.1177/00393207211049272
David Brown
While some constraints are necessary to the correct performance of liturgy, both the nature of liturgical language and its wider setting argue for openness. In the case of language, examples are drawn from scripture, formal liturgy and hymns to suggest that their power derives in part from their open, poetic character. The multivalent character of metaphor can help draw worshipers into dialogue with God. Because all metaphors are partial and inevitably fail at some point, elimination is not the best response to perceived inadequacies but the introduction of complementary images. Equally, instead of viewing the setting as a constraint, as in the Hindu concept of darshan it should be seen as an opportunity for God to speak through human artefact. While architecture is briefly addressed, the main focus is on stained glass. Pope Gregory’s “Bible for the illiterate” is quite wrong. Once the rules behind particular styles are appreciated, not only can its power to communicate divine presence be activated but also at times original reflections that go well beyond the merely “illustrative.” Examples range from medieval glass at Canterbury, Chartres and Sens to the work of modern artists such as Harry Clarke, Tom Denny, and Douglas Strachan.
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Pub Date : 2022-01-28DOI: 10.1177/00393207221075753
Deborah Sokolove
Liturgy and the arts make similar claims about inviting people to take a journey beyond price; to bear witness to the world as it is and as it should be; to experience truth and beauty even in tragedy; and to remind them of their intrinsic right to exist. This similarity leads many people to believe that the arts are essential to good liturgy. It also is the source of the suspicion that visual art, in particular, is a worldly distraction from the serious work of the people. The work of visual art in liturgy is not to decorate, not to give a platform to individual artists for their personal expression, not to serve as empty representations or diagrams of intellectual ideas. Rather, it is to bring all our senses into worship as the living Body of Christ, broken and poured out for the need of the world.
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