The Feast of Pentecost and Trinity Sunday: Liturgical Art in Context

2012 ◽  
Vol 66 (1) ◽  
pp. 55-66
Author(s):  
Heidi J. Hornik ◽  
Mikeal C. Parsons
Keyword(s):  
Liturgical Art

Controversies in Liturgical Art

Liturgy ◽  
1986 ◽  
Vol 5 (4) ◽  
pp. 86-91
Author(s):  
Christine J. Thompson
Keyword(s):  
Liturgical Art

scholarly journals Reflection of the Problems of Ukrainian Church Singing in the Source Materials of Galicia at the End of the XIX – early XX Century

2018 ◽  
pp. 37-47
Author(s):  
Svitlana Guralna
Keyword(s):  
Twentieth Century ◽  
Catholic Church ◽  
Historical Context ◽  
Modern Society ◽  
Self Awareness ◽  
Musical Life ◽  
Liturgical Art ◽  
Methodological Principles ◽  
Source Materials

As a result of the awareness of the important role of spiritual and cultural phenomena in the development of Ukrainian culture, modern society has a particular interest in the historical context of the formation of sacred art. Therefore, the process of research of church singing based on reliable information, fixed in Galician periodicals since the appearance of the first publications on this topic and before the Second World War, became the basis of the writing of the article. The choice of methodological principles is conditioned by the specifics of the research carried out, in particular, the accumulation of materials with further understanding and selection. Historical and cultural studies, art studies, theological and teaching materials, which are found at the time periodical, preserved in the department of ukrainian, in the scientific department of periodicals by Maryana and Ivanni Kotsiv, National Library of Ukraine the name of V. Stefanyk, and in the State Archives of the Ternopil region. The use of comparative and cultural methods helped to highlight the historically determined features of ritual and church-musical life of Galicia at the end of the 19th and the first half of the twentieth century under the conditions of expansion of the pro-government structures. Due to the functional approach, the problems of coexistence of denominations, social conditions of the Greek Catholic Church, the status of daco-regent education and publishing, and the role of personalities in the practice of church singing are outlined. On this basis, a holistic evaluation of spiritual and choral performance and the social context of church singing as a form of realization of the liturgical art of the Eastern rite in Galicia at the end of the nineteenth and first half of the twentieth century was achieved. The source materials revealed the activation of public opinion in the press at that time, showed the significant role of the Ukrainian Church in shaping national self-awareness and dominance of the spiritual factor in the outlook and everyday life of the Galician.

Junípero Serra’s Tastes and the Art and Architecture of the California Missions

2018 ◽  
Author(s):  
Clara Bargellini ◽  
Pamela Huckins
Keyword(s):  
Alta California ◽  
Clear Sense ◽  
Center Stage ◽  
Liturgical Art ◽  
Art Historians ◽  
California Missions ◽  
Art And Architecture

As art historians Clara Bargellini and Pamela Huckins show in Chapter 9, the missions, at least in Serra’s mind, were to be held together not just by violence but by a common devotion to Catholicism that was reinforced by architecture and art. Bargellini and Huckins show that Serra had a clear sense of how he wanted to adorn the missions in the Sierra Gorda and those of Alta California, and he saw architecture and liturgical art as an important tool in the conversion of Indians. Images of the Virgin, Christ’s Passion, and Franciscan saints all took center stage in the churches of the California missions, and Serra favored an older Baroque style over the emerging Neoclassicism.

scholarly journals On the chanting space and hymns that were sung in it. Searching for chanting-architectural connections in the middle ages

Muzikologija ◽  
2017 ◽  
pp. 145-173 ◽  
Author(s):  
Vesna Peno ◽  
Marija Obradovic
Keyword(s):  
Middle Ages ◽  
Cultural Transformation ◽  
Future Research ◽  
Historical Sources ◽  
Architectural Form ◽  
Liturgical Art ◽  
15Th Century ◽  
Byzantine Period ◽  
Significant Addition ◽  
Church Art

The search for the unexplained interactions of domestic medieval liturgical music and sacred architecture of the Moravian style has not been the subject of interdisciplinary study so far. A reflection on the potential relationg between church chanting and architecture is absent from the largest part of the existing literature on the development of medieval sacral art. The scarcity of written historical sources, and especially musical ones, made it particularly difficult to define the connection between the chanting circumstances and the changes in the architectural form of the late Byzantine period, which is almost a standardized Moravian architectural form. The earliest preserved bilingual - Greek-Slavic neumatic manuscripts, mentioning both the names of the first famous Serbian medieval composers, and the more or less well known late Byzantine musicians who had actively participated in the earliest religious services of the Serbian Church, confirm that the culmination of the chanting art in Serbia occured precisely at the turn of the 15th century and then until the fall of Serbia under Turkish rule. Comparing the available data, with a general insight into the migration flows that led to the Byzantinization of Serbian culture in that period, showed that after the reconciliation of the Serbian Patriarchate and the Patriarchate of Constantinople, in 1374, the world-class building tradition was adopted, which until then was sporadically seen on the Serbian soil. The architectural form of the Moravian style would become recognizable by the singing apses in the axis of the transept, in the middle of the already adopted form of the inscribed cross from the early 14th century. Within the framework of the overall church, political and cultural transformation that was visible in Serbian society, the chanting practice of the Serbian Church, or more precisely the greater affirmation of the liturgical art and the increase in the number of the chanters, certainly had a share both in acceptance and in the consistent implementation of the architectural solutions of the Moravian style. Future research should focus on the holistic analysis of the Moravian cultural heritage, in order to map the movement of the known and unknown Serbian Greek melods and determine the scope of their activity. The existing knowledge of the architectural features of the Moravian sacred buildings will thus receive a significant addition, from the liturgical and religious service in which each form of church art is individually represented as part of a much more complex artistic ensemble with which the Kingdom of Heaven on the Earth is iconized.

Book Review: Medieval Liturgical Art

2010 ◽  
Vol 122 (2) ◽  
pp. 98-99
Author(s):  
Robin M. Jensen
Keyword(s):  
Liturgical Art

scholarly journals Visual Splendour and Verbal Argument in Romanesque Golden Altars

1970 ◽  
Vol 24 ◽  
pp. 205-225
Author(s):  
Kristin B. Aavitsland
Keyword(s):  
Visual Appearance ◽  
Liturgical Art ◽  
Religious Thinking

This paper considers Latin inscriptions found on the prominent gilded metal altars from Scandinavia (c. 1130-c. 1220), aiming to discuss the possible intentions behind them and their reception by those who may have been their readers. Being highly representative of Romanesque liturgical art, the inscriptions of the Scandinavian altars are of two categories: either short, descriptive tituli identifying depicted figures or scenes or metric verses of more sophisticated, theological content. The paper discusses both types, considering their visual appearance, verbal rhetoric, and interplay with iconography. Some conclusions are drawn that may be valid for liturgical epigraphy in general. Then follows a discussion of the inscriptions of one specific altar, the spectacular frontal from Stadil Church in Denmark. Related to inscriptions on light and splendor in Rome, Saint-Denis and elsewhere, the Stadil inscription also comments on the act of reading and beholding, giving the images the pride of place above the written world. The interpretation suggested in this paper contributes to the discussion of word/image-relations in medieval religious thinking.

The High Mass as Sacred Dance

1977 ◽  
Vol 34 (1) ◽  
pp. 58-72
Author(s):  
Douglass Shand Tucci
Keyword(s):  
The Body ◽  
High Mass ◽  
Liturgical Art ◽  
Sacred Dance ◽  
The Church ◽  
Holy Place

“It is everywhere assumed in the literature of the liturgy but almost nowhere else in the church that ceremonial is the art of the body, which is why Newman described the movements of the ministers at high mass as ‘sacred dance.’… The sacred dance, like all liturgical art, must struggle for the incarnation in it of the supernatural if it is to be transfigured. In the Holy Place, at the heart of the liturgy, it can most easily be debased.”

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