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Sophia’s banquet (Divine Wisdom’s banquet) – this type of iconography is an illustration of a specific passage of the ninth chapter of the Old Testament Book of Proverbs: Wisdom hath built herself a house (Prov 9, 1–6). That text became widespread in Old Russian literature within liturgical books containing passages of the Old Testament. Also the comment of Anastasius Sinaites for Proverbs 9, 1–6 was translated into Old Church Slavonic. Iconographic images of the Wisdom’s banquet scene should be considered as a phenomenon typical of South Slavic wall paintings from the period of fourteenth century. Later on, the discussed motif became popular in Old Russian art and began to appear on the East Slavic icons.
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In 1966 the Catholic Church in Poland celebrated one thousand years of Christianity of Polish people. The Poland Bishops’ Conference wanted to mark this celebration by a striking gesture that would resonate in public as a sign of Christian goodness of the Polish Church and willingness to forgive even those acts which are the hardest to forgive. Given the fact that the preparations for the celebration were held during the proceeding of the Second Vatican Council, the Polish bishops took this opportunity to establish better contact with the West German bishops, and in agreement with them they prepared a pastoral letter which strongly echoed in the church, political and overall Polish, German and international public of that time. On November the 18th 1965, the Polish bishops sent this pastoral letter to the West German bishops, with the special emphasis on their forgiving and seeking forgiveness, and offering a dialogue with the aim of improving the relations between the Polish and the West German Church, people and states. This pastoral letter also took into account the problem of the German-Polish borders that had been established by the victorious forces after the Second World War, as well as the emigration of the German population from the west Poland to the Federal Republic of Germany, and the settlement of these areas by the Poles from the east in order to extend preferential treatment to Soviet interests. The West German bishops responded the letter in the similar reconcilable tone, but they did not tackle the problem of borders, with which a part of the Polish public was not satisfied. The Polish communist government reacted on all this harshly, accusing the Polish bishops that they had exited the church scope of jurisdiction and performed a treacherous act against the Polish government and state. Thus they were trying in many ways to obstruct the celebration of one thousand years of Christianity, yet due to the exceptional power and respectability of the Church among the people, they did not have great success. Considering that the Polish bishops invited bishops and church believers from many countries of Europe and the world to the celebration, the Polish authorities took various diplomatic measures to make their response as smaller as possible. So they exerted diplomatic pressure on the Yugoslav communist authorities as well, who, in order not to run afoul of the Polish authorities, but also of the Catholic Church in Yugoslavia with which they had tried to normalise relations through negotiations with the Holy See, by indirect pressure suggested the Yugoslav bishops to refrain from going to Poland and organising pilgrimage groups, from which the bishops mostly gave up, aware of the tense church-state relations in Poland and possible inconveniences that would await them there.
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The subject of this study is the issue of Sunday celebrations in the case of inability to participate in the Eucharist (canon 1248 § 2 Code of Canon Law). First, the matter of an obligation to attend the holy Sunday Mass was discussed. Next, attention is drawn to the issue of the causes of inability to participate in the Sunday Eucharist. Finally, substitute forms of Sunday celebrations in the case of inability to participate in the Eucharist were presented.
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The text relates interdisciplinary liturgical and cultural research carried out in collaboration with national and international research centers at the Faculty of Philology and Faculty of Theology of the University of Opole. The ten-year study resulted in four collective publications, which are Icons of the Invisible ed. M. Lis, Z.W. Solski (2003), Liturgy in the world of entertainment ed. H.J. Sobeczko, Z.W. Solski (2005), Word and gesture ed. H.J. Sobeczko, Z.W. Solski (2009), Between liturgics and performance studies. Exploration I ed. E. Mateja, Z.W. Solski (2012). In recent years, the focus was on performative research at the threshold of liturgy and theater. The Faculty of Theology of the University of Opole is currently the only Polish catholic academic center, which ventured to conduct performative research on the liturgy. Results of the research conducted at the University of Opole, the author presents on the broad background of the development of performance studies in Poland and abroad.
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Great Mosque of Damascus was built between 705 and 715 by the Umayyad Caliph al-Walid I. However, the origins of this building dates to the distant past. At first it was a location of an ancient Aramaean temple dedicated to the god Hadad. With Hellenization the temple was dedicated to Zeus and in the first century BC the Romans transformation it into the Temple of Jupiter Damascenus. In 391 Emperor Theodosius converted the temple into Christian Cathedral of Saint John. Erection of the mosque by Caliph al-Walid I was under strong influence of earlier constructions. Meaning and consequences of such transitions, from the Roman temple (there is almost no data of the Aramaic building) through the Christian Cathedral to the Islamic mosque is an interesting process. Issue not only within the art and architecture, but what is more, in a religious aspect of the continuity of sacred space.
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Among the first Church Fathers, where we find the concern for anthropological issues, is St. Justin the Martyr and the Philosopher. Even though St. Justin has not developed a proper anthropology, because it was too early for such a performance, however he draw a few lines in this regard, that influenced later patristic tradition, also showing interest in humanist culture in general, because this culture has a pronounced character of continuity, keeping the principles of permanent value, principles earned through the efforts of the spirit and society over time. Man, in the conception of St. Justin the Martyr and the Philosopher, is a rational being comprised of two elements: body and soul. Taken separately, the two elements, body or soul, do not form the man, this being the union and unity of the two elements. Sf. Justin says that God, summoned to life and resurrection this entire assembly that is the man, and not just a part of him. He considers man as being a miracle, if we take into account the small drop of seed which he derives from and which produces and develops the bones, nerves and flesh. As for the relationship between body and soul, St. Justin the Martyr and the Philosopher says that they are closely connected by the very act of creation.
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The exhibition Surréalisme en 1947, organised in Paris (Galerie Maeght) by André Breton and Marcel Duchamp was an attempt to consolidate and reorient the Surrealist move-ment in the post-war reality. According to the trend set by Breton in his Rupture inaugurale, Surrealism was going to become tied with occultism more strongly than ever before. The exhibition, whose main topic was “a new myth", was arranged in the form of an initiation path, consisting of the Hall of Superstitions, the Labyrinth of Initiation, etc. One reason for the critical panning of the exhibition was the fact that in that period all forms of esoteric trends were associated with Fascism, and myth was more and more frequently acknowledged as an obstacle in building new, rationally organised society. The aim of this paper is to present how the strategy of Breton, who proclaimed the need for establishing “a new myth" and connecting Surrealism with occultism against the Paris intellectual milieu, contributed to the marginalisation of the Surrealist movement.
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Cantionale ecclesiasticum is a group of supplementary liturgical books originating on the territory of Poland between 1822 and 1954. They contain a variety of chants that belong to the liturgical Latin repertoire, with some carefully-selected chants in the Polish language added to them. So far, eleven editors of Cantionale ecclesiasticum have been successfully identified, including two congregational (The Congregation of the Mission), and nine diocesan editors (the Poznań, Gniezno, Vilnius, Lviv and Warsaw dioceses). The largest number of Cantionale (eight) was published by the Missionary Priests, and the hymn book by Rev. J. Surzyński enjoyed the greatest popularity among diocesan authors. There is a total of 30 Polish editions of Cantionale ecclesiasticum. All editors claim to have relied on the printed Piotrkow Graduals. Examples of substantial affinity with those books can be noticed, for example, in the rites for Holy Week, which are a continuation of customs preserved in Poland, and also in the conveyance of the so-called Piotrkow melodies, i.a. in Lamentations. In addition, the Polish chants being introduced in gradually-increasing numbers are a tentative attempt to make reference to the Piotrkow Graduals (Resurrection Sunday). Therefore, the editors of hymn books are heirs of the Piotrkow Graduals authors and at the same time the precursors of changes that followed the Second Vatican Council.
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The article refers to selected compositions from the abundant work of Polish composers inspired by John Paul II and his teachings. This work constitutes an exceptional and very frequent phenomenon in Polish music (and not only sticte religious music) which continued since the beginning of the pontificate. The inspiration in this type of compositions is an interesting issue. It usually is (at least) twofold: “external” (referring to the person of the pope) and “internal” (referring to a given composer’s style/interest) which is manifested, among others, in the diversity of genres and forms of these compositions, their closer or further reference to music traditionally perceived as religious, their approach towards the “papal” subject, etc. That is why the problem of inspiration is the centre of the article’s considerations. The theoretical reference point is Władysław Stróżewski’s concept of inspiration as “the dialectics of interiority and exteriority”.
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This section recommends the journals, books, catalogues and periodicals on the history of religious orders. In this volume: Marek Derwich, Skarby krakowskich klasztorów: wystawy, katalogi, inne publikacje
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Статья посвящена осмыслению пастырского душепопечения в духовном развитии личности. Отмечается существенная роль пастырского наследия священномученика Серафима (Остроумова), архиепископа Смоленского в поиске адекватных методов и способов взаимодействия пастыря с обществом. Подвергаются рефлексии принципы, модель поведения и характер действия пастыря в процессе духовной заботы о душах людей. Анализируется пастырский взгляд священномученика Серафима на общение человека с Богом, указывается на психологическое значение пастырского душепопечения. Пастырский опыт архиепископа Серафима актуализируется в связи с востребованностью определения соответствующей парадигмы действия верующего человека в современных условиях возрастающей секуляризации и морального релятивизма.
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Artykuł został poświęcony teoretycznym i praktycznym aspektom działalności reformatorskiej ks. barona Ignaza Heinricha von Wessenberga (1774-1860), który najpierw jako wikariusz generalny (1802-1817), a następnie administrator diecezji Konstancji (1817-1827), bez powodzenia dążył on do utworzenia autonomicznego Niemieckiego Kościoła Narodowego z własnym prymasem i synodem oraz zniesienia obowiązkowego celibatu duchownych. Twórcy wessenbergianizmu udało się jednak skutecznie rozwinąć i unowocześnić system kształcenia dzieci, młodzieży i kleru, wprowadzić język niemiecki przy sprawowaniu nabożeństw kościelnych oraz sakramentów i sakramentaliów. Jego zasługą było rozpowszechnienie wśród duchowieństwa i wiernych Pisma Świętego i dzieł ojców Kościoła w języku narodowym oraz ograniczenie pielgrzymek i kultu świętych. Reakcją Rzymu na reformy ks. Ignaza von Wessenberga było rozwiązanie przez papieża Leona XII (1823-1829) biskupstwa Konstancji i powołanie na jego miejsce arcybiskupstwa z siedzibą we Fryburgu Bryzgowijskim. Do większości idei i postulatów głównego teoretyka wessenbergianizmu nawiązały Kościoły starokatolickie, które doprowadziły do przywrócenia ustroju synodalno-episkopalnego i języka narodowego w liturgii oraz ograniczenia praktyk dewocyjnych i zniesienia obowiązkowego celibatu duchownych.
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Artykuł traktuje o losie ks. Grzegorza Kuryłasa, kapelana w siłach zbrojnych II Rzeczypospolitej. W czasie II wojny światowej duchowny był organizatorem i szefem duszpasterstwa wojskowego wyznania prawosławnego w Armii Polskiej w ZSRR i Armii Polskiej na Wschodzie. Z pewnością postać ks. Grzegorza należy do najbardziej ciekawych i złożonych w dziejach wojskowego duszpasterstwa prawosławnego w omawianym okresie. Wokół historii księdza narosło wiele niejasności i kontrowersji. W oparciu o źródła archiwalne z Polski i Wielkiej Brytanii Autor omawia kolejne etapy jego służby duszpasterskiej w wojsku. Szlaki żołnierski i kapłański duchownego zostały ukazane na tle wydarzeń politycznych, które wówczas się dokonywały w kraju.
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The second part of the study of the painting Maria in sole by Geertgen tot Sint Jans from the Museum Boijmans van Beuningen in Rotterdam is divided into two sections. Both are accompanied by theological and iconographic reflections as well. The Christ Child playing two handbells is depicted at the moment of generating the very first movement, creative “energy”, first sound that is going to be taken up by one of the angel musicians holding the same idiophones. Christ, incarnated God is perceived as the Musicus initiating the heavenly harmony represented by the three angelic rings. Profanum aspects in that Marian work of art are reflected in the outermost ring where angels play various musical instruments which I interpret as an incomplete catalogue of the 15th century instruments; the main reference work is Musica getutscht und aussgezoge written in 1511 by Sebastian Virdung. Four thematic sections of the study are as follows: Et signum magnum paruit in caelo: mulier amicta sole Rosarium Virginis Mariae Motus autem non est ens completum, sed est via in ens... Musica coelestis vel mundana
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Sanctuaries are very special places for all religions, which are rooted in various, cultural settings. The essence of pilgrimage to them flows from a free choice of taking a trek, overcoming divisions as national borders and distinct ethnic, national or religious groups. Holy hills, wonderful sources and other natural relics of supernatural events, and above all, a silhouette of pilgrimage shrines are still recognizable signs of transcendent intuition, which are inscribed in human’s nature. In Silesia — the borderland — where precious threads of their traditions were located by Poles, Germans and Czechs for centuries. Sanctuaries create an extremely colorful mosaic of places — “the guest houses” such as: Wambierzyce in Lower Silesia, Mount St. Anne in the Opole and Piekary in Upper Silesia. They are engraved in the landscape thanks to recognizable qualities of architectural forms of churches, monasteries, calvary chapels and Pilgrim houses. As the history of Silesian sanctuaries proves, they have become an milieu of a local communities crystallization. In their light, generations of many nations grow up to overcome mutual differences, animosities or even a hostility fueled at times of wars, uprisings and subsequent occupations. Undoubtedly, an assimilation of newcomers from abroad, who settled in Silesia permanently, has occured in these places. These “houses” are still alive, as both religious centers and treasures of a widely implied notion of the culture.
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The acoustics of sacred rooms is a substantial factor, which is often belittled by architects. Architectonic designing of sanctuary building ought to be based on consultation pertained to acoustics of each sacred building. The author of the following publication, perceiving many acoustic discrepancies concerning sacred interiors, sets himself an aim: to present general acoustic problems relative to the crucial acoustic parameter — spatial impression. The following parameter resultant from the improper architectonic project poses a serious acoustic problem. It causes disturbance in the comprehension of priests words and anomalies concerning resounding of liturgical music. The topic of this article connects knowledge of specialized disciplines, which thorough understanding expands versatility and skill of architects, acousticians and clerics, not to mention the better results in improvement of sacred interior’s acoustics.
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