scholarly journals Monastic Architecture of the Circle of Saints Naum and Clement of Ohrid in the Context of the Church Architecture of the First Bulgarian Kingdom and the Architectural Traditions of the Byzantine Provinces of the 9th–11th Centuries

2020 ◽  
Vol 10 ◽  
pp. 809-828
Author(s):  
Svetlana V. Maltseva
Keyword(s):  
Church Architecture ◽  
Monastic Architecture ◽  
The Church

Anti-Reredos Cases and the Fight against Idolatry in the Late Victorian Church, c. 1860–c. 1900

2021 ◽  
pp. 1-21
Author(s):  
Hugh Pattenden
Keyword(s):  
Church Of England ◽  
Church Architecture ◽  
The Public ◽  
Local Newspapers ◽  
The Church ◽  
Public Worship

Abstract This article considers attacks on reredoses in the late Victorian Church of England with the objective of placing such controversies within the context of anti-idolatry and anti-ritualism campaigns of the period. By doing so it seeks to rectify the lack of focus in the historiography on how the ritualist controversy affected discussion of changes to church architecture. In particular, by using local newspapers, it extends consideration of the reredos issue beyond the two main cases, namely those of Exeter and St Paul’s cathedrals. It argues that the reredos cases provide a powerful tool for considering how the Church of England moved towards a more ‘catholic’ position on ornamentation during this period, showing how it became impossible for the more Protestant members of the Church to prevent what they saw as the ‘Romanization’ of ecclesiastical spaces. This was part of a broader process by which ornamentation was coming to be accepted on purely aesthetic terms, and not as a challenge to the theology of the Church of England. It further assesses the significance of the Public Worship Regulation Act 1874 in relation to cases involving church fabric, arguing that the introduction of the bishops’ veto had only limited practical effects on such disputes.

Modernity and Compromise: The Church of St. Michael the Archangel in Warsaw and its Designer Władysław Pieńkowski

Ikonotheka ◽  
2019 ◽  
Vol 28 ◽  
pp. 169-197
Author(s):  
Wojciech M. Głowacki
Keyword(s):  
Architectural Design ◽  
Large Scale ◽  
Western Europe ◽  
Church Architecture ◽  
Vatican Council ◽  
Ecclesiastical Architecture ◽  
History Of ◽  
Post War ◽  
Religious Nature ◽  
The Church

Despite the considerable influence he exerted on post-war church architecture in Poland, the designer Władysław Pieńkowski (1907–1991) is today an altogether forgotten figure. The current paper outlines his biography and his early oeuvre; this is because his experience in designing office blocks and industrial plants gained while working under the supervision of the most outstanding Polish architects of the mid-20th century, was to be of key importance to his later, independent designs for ecclesiastical buildings. The paper focuses on a particularly important work, one which in many ways constitutes a breakthrough in the architect’s career, namely the church of St. Michael the Archangel in the Mokotów district of Warsaw. This was the first entirely new church to be erected in the capital of Poland after the year 1945. Its construction depended on the dynamic changes in the balance of political forces. The church could be built owing to the support of the PAX Association circle, including the direct involvement of Bolesław Piasecki. In spite of their patronage, however, construction works were repeatedly halted and extended over several years, and the architectural design had to be reworked. The paper contains an analysis of three fundamental designs for the church, now held in the St. Michael the Archangel parish archive and in the architect’s records preserved by his heirs. The first design dates from the period of 1948/9–1951, the subsequent one from the year 1954, and the final one from 1956–1961. The evolution of the design moved from the initial continuation of forms typical of the pre-war Modernised Revivalism, through a peculiar reference to Socialist Realism, to rigorous Modernism. The church of St. Michael the Archangel became Pieńkowski’s testing ground; there, he tried out several solutions which he would consistently utilise in the subsequent years of his career, e.g. the large-scale application of prefabricated elements in both the construction and the decoration of the edifice. The construction of this church was concurrent with important events of a political (the Thaw) and religious nature (the Second Vatican Council). Tracing the history of the design for the Warsaw church and clarifying its connections with contemporaneous church architecture in Poland and in Western Europe made it possible to present the key problems faced by the Polish designers of ecclesiastical architecture in the first decades of the People’s Republic of Poland.

Dimensions and Proportions in Egypt’s Byzantine Religious Architecture

2020 ◽  
Vol 12 ◽  
pp. 35-57
Author(s):  
Ramez Boutros
Keyword(s):  
Church Architecture ◽  
Archaeological Material ◽  
Religious Architecture ◽  
Relative Chronology ◽  
Building Activity ◽  
Church Building ◽  
Byzantine Church ◽  
Materials Used ◽  
The Church ◽  
Written Sources

In the study of Egypt’s Byzantine religious architecture, modern scholarship has been focusing essentially on es- tablishing the typology of plans and their relative chronology. Church building activity has also been studied by using the written sources complimented by the archaeological evidence. is abundant Christian archaeological material shows an amazing variety and complexity in church designs. ere is a need of a rationalized analysis of the proportion ratios of the church buildings, and a necessity to focus on the dominant factors dictating its size, the type of its structure, and the quantities of materials used in its construction. e study of geometric shapes and the evolution of their sacred perceptions is yet another interesting facet of this type of architecture. e purpose of this paper is to explore new approaches in studying the proportion ratios and its correlation with the measuring units used in Byzantine church architecture and the existence of any symbolic concepts.

Christianization of the Philippines

2015 ◽  
Vol 32 (1) ◽  
pp. 47-65
Author(s):  
Fides A. del Castillo
Keyword(s):  
The Philippines ◽  
Church Architecture ◽  
Religious Art ◽  
Traditional Religion ◽  
Indigenous Culture ◽  
San Pedro ◽  
The People ◽  
Catholic Religion ◽  
The Church ◽  
Root Spread

This paper aims to contribute to discussion on how the Catholic religion took root, spread, survived, and progressed in the Philippines. It seeks to address the Christianization of the pre-Hispanic Filipinos and the subsequent embedded-ment of the Church in indigenous culture. It also discusses on H. Richard Niehbur’s typology of the gospel-culture relationship as discussed by De Mesa (2007). From the fundamental congruencies between Filipino traditional religion and Catholic Christianity, this paper asserts that the lack of tension between the traditional religion of the native Filipinos and Catholicism allowed Christianity to take root, develop, and dominate in the Philippines. In addition, the entrenchment of the Church in indigenous culture and its expression in church architecture, religious art, and popular devotions specifically in the Church of Saint James the Great at Paete, Laguna and San Pedro de Alcantara Church at Pakil, Laguna are discussed. This is to correlate the important contributions of Baroque churches and religious art in the Christianization of the people in the Philippines.

scholarly journals The Late Gothic Portal in Trebišov Pauline Order Church, Architecture and Geometry

2019 ◽  
Vol 15 (1) ◽  
pp. 13-19
Author(s):  
Zuzana Grúňová ◽  
Miloslava Borošová Michalcová ◽  
Éva Vesztróczy
Keyword(s):  
Church Architecture ◽  
Geometrical Construction ◽  
Simple Method ◽  
Gothic Architecture ◽  
15Th Century ◽  
Architectural Features ◽  
The Church ◽  
Later Phase ◽  
Pointed Arch

Abstract Gothic architecture is one of the oldest surviving architecture in Slovakia. The Church of Pauline Order in Trebišov has many building phases; its entrance stone portal belongs to the later phase dated about the second half of the 15th century. Paper focuses on an architectural features and geometry of this portal. Portal has clearly a geometrical construction that is compared to another late gothic portal from church in Handlová. Conclusion suggests, that ratio of the entire portal dimensions is close to 4 : 3, proportions of jamb and opening widths are 1 : 4 : 1 part of the overall portal width and there highly probably existed some simple method of determining position of pointed arch arches.

scholarly journals Longitudinal, Transverse or Centrally Aligned? In the Search for the Correct Layout of the ‘Protesters’ Churches

2017 ◽  
Vol 48 (1) ◽  
pp. 1-16 ◽  
Author(s):  
Jan Harasimowicz
Keyword(s):  
Czech Republic ◽  
Great Britain ◽  
The Netherlands ◽  
Art History ◽  
Church Architecture ◽  
Research Project ◽  
Protestant Church ◽  
The Reformation ◽  
The University ◽  
The Church

The article was written within the framework of a research project “Protestant Church Architecture of the 16th -18th centuries in Europe”, conducted by the Department of the Renaissance and Reformation Art History at the University of Wrocław. It is conceived as a preliminary summary of the project’s outcomes. The project’s principal research objective is to develop a synthesis of Protestant church architecture in the countries which accepted, even temporarily, the Reformation: Austria, Czech Republic, Denmark, Estonia, Finland, France, Germany, Great Britain, Hungary, Island, Latvia, Lithuania, Norway, Poland, Romania, Russia, Slovakia, Slovenia, Switzerland, Sweden and The Netherlands. Particular emphasis is placed on the development of spatial and functional solutions (specifically ground plans: longitudinal, transverse rectangular, oval, circular, Latin- and Greek-cross, ground plans similar to the letters “L” and “T”) and the placement of liturgical furnishing elements within the church space (altars, pulpits, baptismal fonts and organs).

scholarly journals Space forming a community, community forming a space

2018 ◽  
Vol 5 ◽  
pp. 26-51
Author(s):  
Zorán Vukoszávlyev
Keyword(s):  
The Self ◽  
Church Architecture ◽  
Spatial Form ◽  
Self Identity ◽  
Protestant Churches ◽  
Aesthetic Sense ◽  
The Individual ◽  
The Church

The identity is expressed in a self-picture, which has visible and immaterial marks. The church architecture is the essential appearance form of this, because it represents not the individual but the community. It gives an account of the self-identity conscience of the church through the community. In this way, architecture gets a great task: physically visualising this immaterial identity. This picture is formed with respect to the technical and aesthetic knowledge.Does the basically recognizable protestant form exist? Are there ground-plans or spatial form elements, which are the obligate characteristics of these churches? Reflected well on the theological questions, we seek to detect what can determine the identity of the protestant churches in an aesthetic sense by a research highlighting the most important decesions on theological background and churches built in a term of a century.

scholarly journals The spirit of modern sacral architecture

2015 ◽  
Vol 14 (2) ◽  
pp. 131-138
Author(s):  
Karolina Zuba
Keyword(s):  
Religious Beliefs ◽  
Special Function ◽  
Church Architecture ◽  
Form And Function ◽  
And Function ◽  
The Church

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.

scholarly journals Orthodox churches inscribed on the UNESCO World Heritage Site – the selection criteria

2015 ◽  
Vol 14 (3) ◽  
pp. 235-240
Author(s):  
Piotr Gleń
Keyword(s):  
Cultural Values ◽  
World Heritage ◽  
World Heritage Site ◽  
Church Architecture ◽  
Unesco World Heritage ◽  
Carpathian Region ◽  
Heritage Site ◽  
Unesco World Heritage Site ◽  
The Relationship ◽  
The Church

The article deals with cultural values that represents the wooden church architecture. Author focuses on the examples of the church in the Polish and Ukrainian region of Carpathian mountains. The abundance of wood as a building material in the region, as well as the landform and the localization, resulted that the local architecture Orthodox Church has become a unique and highly characteristic. The author of the article, presents the wooden churches in the Poland and Ukraine inscribed on the UNESCO World Heritage Site which took place on 21 June 2013, at the 37 session. On that list is currently 16 Orthodox churches of the Carpathian region: 8 temples on the Polish side and 8 from the Ukrainian side. The churches of the Carpathian region inscribed on the UNESCO World Heritage are a testament to the interpenetration of Christian culture characteristic of the East and the West showing the relationship between the Polish and Ukrainian community.

scholarly journals Pastophoria and Altars: Interaction in Ethiopian Liturgy and Church Architecture

Aethiopica ◽  
2012 ◽  
Vol 10 ◽  
pp. 7-51 ◽  
Author(s):  
Emmanuel Fritsch ◽  
Michael Gervers
Keyword(s):  
Church Architecture ◽  
13Th Century ◽  
The West ◽  
Interior Space ◽  
Present Discussion ◽  
Bear Witness ◽  
The Church ◽  
Holy Place ◽  
Ethiopian Church ◽  
Church Buildings

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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