Zakrystia jako przestrzeń przygotowania do liturgii na przykładzie zakrystii bazyliki św. Franciszka z Asyżu w Krakowie

Vestry as a space of preparation for liturgy on the example of the church of St. Francis of Assisi in Krakow The topic of the following article is “Vestry as a space of preparation for liturgy on the example of the church of St. Francis of Assisi in Krakow“. The author, besides histor-ical issues concerning the vestry and the process of building the discussed Franciscan vestry, shows it as an example of the integral part of a church, used by the priest and acolytes for preparation for celebration of liturgy, as well as a place for storage of church equipment and liturgical books. The antique furnishings and decorations of a place that allow to prepare for the liturgy should help emphasizing the crucial role of celebration. The presented paper, besides theological interpretation, underlines the sanctity and dignity of a vestry, which always should present the high level of furnish-ings and decorations, what nowadays is misunderstood, underestimated and ignored when organizing the church both by architects and priests themselves.

Terminologia i metaforyka przestrzeni w liturgii

Terminology and metaphors of space in liturgy The goal of the following study is to present the vocabulary denoting space and their meaning in the Mystery of Christ and the Church as applied in liturgy. The investiga-tion is based on the liturgical texts, mainly the euchologies of the Missal of Paul VI and the Marian Missal. First several basic terms indicating God’s dwelling were an-alysed, which evince the fact of God’s intention and actual coming to individuals and making them His home and temple. Another point was to establish and specify certain factors contributing to creating the holy space of God’s and human encounter. Two kinds of such were distinguished: pneumatological and initiational. Both prove, that becoming God’s dwelling is a process of assuming an adequate attitude of heart and requiring the intervention of the Holy Spirit. The last section of the article was dedicated to some selected, most popular theological and existentional equivalents of liturgical space, such as: faith, liturgy, Word of God, silence, which are of great importance in establishing and maintaining the Mystery of God and man happening in temporality. It is worth noticing that all analysed words and phrases confirm the fact that, this is God, who is inclined to dwell in human beings and that through the Mystery of Incarnation He has inhabited human nature, and sustains His presence through Christ in the Holy Spirit in liturgy, mainly in the Eucharist. The unique at-tribute of Christianity lies in this incarnational aspect of God’s location, sacramental spatiality. Mary, Mother of God was the first, who experienced this grace, and re-mains the impeccable model for every single being called for being God’s dwelling. Therefore the majority of the studied material was taken from the Marian euchologies. Terminology of space in liturgy is entirely metaphorical, and eventually refers to God and to a human being, as announced by the Johannine idioms of communion in the Fourth Gospel.

Ikona w liturgii, liturgia na ikonie. O ikonie w przestrzeni sakralnej

The icon in liturgy, liturgy on the icon.The icon in liturgical space The article presents the position of icon in the sacred space of the Orthodox church and its function in liturgy of the Byzantine rite. In the beginning a rich theology of icon was outlined and its importance in Eastern tradition. In the Eastern Church the icon is considered as a window to heaven, a special sacrament of God’s presence – Christ, Mary and saints among the people. Equally important is the role of illustrating and revealing a dogma, a didactic explanation of the Church’s teaching to the faith-ful. These functions the icon plays mostly within the temple, mainly during liturgy, which celebrated on the earth is also considered as an image – an icon of celestial liturgy. Through the article a reader is made familiar with the iconographic plan of the church and the arrangement of the icons according to the strictly observed pattern. It becomes more comprehensive in the context of liturgical action, when the icon plays a very important role. For that reason the particular parts of Divine Liturgy (Eucha-rist) are described with regard to the role of icons within the celebration. Eventually the paper presents several icons of a strictly liturgical character, that have started to appear within the church since the 9th century. Finding a right place within the sacred space, the icons have affirmed their liturgical flavour and assured about their exceptional meaning in life, liturgy and ecclesial spirituality of the Byzantine rite.

Troska o dziedzictwo kulturowe Kościoła Rzymskokatolickiego we współpracy ze światem : struktury kościelne w roli beneficjentów funduszy europejskich

Maintaining the cultural heritage of theRoman Catholic Church in cooperation with the world. The Church as a beneficiary of European Union funding The paper examines the efforts undertaken by the Roman Catholic Church in Poland in the area of the protection of cultural heritage supported by funding from the Eu-ropean Union. The work focuses on projects whose beneficiaries include dioceses, parishes, and religious orders. Availability of data made it possible to analyze pro-jects co-financed as part of European Regional Policy also known as Cohesion Policy directed towards support for the social and economic development of EU regions in order to minimize differences therein. The study covers all projects associated with cultural heritage including culture and tourism funded by the European Union since Poland’s entry into the organization in 2004 and ending in 2017. Analysis thereof indicates that the Roman Catholic Church has effectively taken advantage of oppor-tunities associated with Poland’s EU membership. Differences in financing activity 225Troska o dziedzictwo kulturowe Kościoła Rzymskokatolickiego... identified in the study are less strongly associated with specific parishes, monasteries, and dioceses as with the material heritage resources available therein. Noteworthy is also the substantial effort made by the Roman Catholic Church to acquire EU funds for the purpose of renovation or modernization of religious sites situated in peripheral areas. Such sites remain significant elements of both the identity and religious life of a number of parish communities in Poland

Rozwój przestrzeni liturgicznej kościołów franciszkańskich od XIII do XVIII wieku

Development of liturgical space in Franciscan churches between 13thand 18th centuries The aim of this writing is to show changes which took place in sacral space of Fran-ciscan temples. At first Friars Minor Conventual were occupying small, abandoned churches. There they found their space for prayer. However, the first generation of Marcin Drąg OFMConv98 the followers of St. Francis did not possess their own sacral area. Instead, they were only its users.Letters of the order’s founder are clearly defining sensitivity connected with cult which all members of the order should possess. Therefore emerges a need of sacral space’s arrangement just in the first decades of the order. Thanks to papal privileges and a demand for ceremonial celebration of liturgy, Franciscan churches are equipped with choirs, lecterns and all paraments needed. This fact is affirmed by Ordinationes(the Franciscan liturgical statutes).The 1260 Narbonne constitutions defined a plan for sacral space of Franciscan churches. It was based on order’s spirituality. The crucified Saviour is put in the middle of this plan. His sacrifice is being re-lived in the mystery of the Holly Mass. Virgin Mary and Saint John the Apostle are participating in this sacrifice as represent-atives of the Church, while Saint Francis and Saint Anthony are representing people redempted with Christ’s blood. By following Jesus, they have received a prize of His eternal companion in heavenly glory.Simultaneously with arrangement of God’s service in conventual churches, friars are becoming more open to fraternity, which determine later arrangements in space of Franciscan churches. Many churches has become places of relics worship and important shrines, with Assisi and Padua among others. Spirituality of the Order and devotion of people have led to creation of side chapels and altars which were spon-sored by benefactors, who received Holly Masses, celebrated for them, and pastoral care in exchange.The 1632 constitutions of Pope Urban the 8th together with order’s etiquette from 1759 are re-affirming the original message of Franciscan temples. It is based on mys-teries of salvation which are represented by the crucified Jesus Christ, the Immaculate Conception of Virgin Mary and Franciscan Saints who with their lives example have shown a way to glory. The idea of Franciscan devotion is represented in dedicated altars and ceremonial processions.In modern age, churches of Friars Minor Conventual were constantly influenced by changes of Renaissance (15th century) and Baroque (from 18th century), which composition was totally different from Gothic. However, despite some architectural changes, the Franciscan idea of devotion, which was included in the plan of churches, has remained the same.The analysis of sacral space in Franciscan churches which has been conducted in this article heads to a conclusion of constant development of Franciscan churches interiors. The changes which took place during 13th and 18th centuries were dictated by evolution of order’s spirituality and needs of believers.

Próba wskazania chrześcijańskiej przestrzeni przeznaczonej do sprawowania liturgii w przedkonstantyńskim Rzymie : (pierwsze dwa wieki chrześcijańskiej obecnośći)

An attempt to indicate the Christian space intended for celebration of liturgy in pre-constantinian Rome (first two centuries of presence) In this study, the author, analyzing relevant written sources and using the fruits of archaeological work, explained how the followers of Jesus Christ settled in or near Rome, during the first two centuries of their presence, managed the space for the needs of their faith before they were given the Basilica of Constantine on Lateran. Written sources and archaeological excavations do not provide information about the equipment of the halls used for liturgy, or domi ecclesiae or their location in Urbe. Also underground cemeteries – the catacombs, built by Christians, do not provide us any information about the use of these facilities for the weekly liturgical assembly.

Alegoryczna interpretacja świątyni w pierwszej księdze Rationale divinorum officiorum Wilhelma Duranda

The allegorical interpretation of the temple in the first book of Rationale divinorum officiorum by G. Duranti The article presentes an attempt to group single elements whose interpretation was undertaken by Guillelmi Duranti (comparanda) in the comparison he most frequently used (comparantis), in other words, to which elements are compared. The classifica-tion of particular collections of comparatives (comparantis) for the purposes of work has been specified and created by the author. The work of G. Duranti was a result of concern about priests and faithful of his diocese, for whom he wanted to create a text-book that explained questions raised in the liturgy. The three chapters of the first book written by G. Duranti show that the liturgical space is not lifeless, that each element has a meaning and can help man to explore the reality, where they are and what they participate in.

Przestrzeń liturgiczna w konstantyńskiej bazylice Bożego Grobu i Zmartwychwstania Pańskiego w Jerozolimie

The liturgical space in the Constantine’s basilica of the holy sepulchre in Jerusalem The article examines the question of the liturgical space in the complex of sacred buildings, commemorating the place of the death and resurrection of Jesus Christ, ris-en by the Emperor Constantine the Great at the beginning of the IV century in Jerusa-lem. The complex was comprised of three single sites. The first of them was the great basilica called Martyrium where most of the liturgies were celebrated. The second place embraced the spacious courtyard with the rock of Golgotha at the top of which was the golden and precious cross. The sources usually call it Crux or Golgotha. The third liturgical space consisted of the impressive rotunda of Anastasis containing the aedicule of the Tomb of Jesus. This way of creating the liturgical space permitted the liturgy of Jerusalem in the first millennium to develop its proper celebrations which further became the model for other rites and liturgies of the East and West. The whole complex was destroyed in 1009 and the Martyrium together with the courtyard of the Golgotha were never rebuilt.

Średniowieczne drzwi brązowe i ich cykle obrazowe jako wyraz liturgii : analiza wybranych przykładów

The medieval bronze doors and its pictorial cycles as an expression of liturgy: analysis of selected examples The principal goal of this paper is to discovery a relationship between pictorial pro-grams of bronze doors of some european churches and the liturgy celebrated in these churches. There is a group of doors, that have been decorated with images represent-ing scenes of Old and New Testament. These are doors from Hildesheim, Verona, Płock and doors made by Bonanus of Pisa – from cathedrale of Pisa and cathedrale of Dariusz Tabor CR122 Monreale. Its pictorial cycles reveal some balance between images of Old and images of New Testament. On the one hand the Old Testament pictures seems to forecast the events of New Testament. On the other hand the doors of Płock, Piza and Monreale have strictly christological image program, although at the beginning of narative Old Testament elements were also introduced. All these programs are the result of the theological knowledge and sensitivity of clergymen, who designed them at that time. Lech Kalinowski interpreted church doors as a symbole of Christ. However only the alegorical interpetation of liturgy, having its origine in the carolingian culture, can give answer to the question on the relationship between images of doors and liturgy. The course of liturgy and its acts were understood as a recontrsuction of events of Christ’s life. So the background of the pictorial, christological cycles of bronze doors was a christological interpretation of the liturgy. However it is not only the matter of presenting the episods of life of Christ, but also of visualization of two mysteries – the Mystery of Incarnation and the Mystery of Salvation. The Gniezno door with the life cycle of saint Afdalbert, th doors of Trani and of Ravello, made by Barisanus, where hagiographic and symbolic representations predominate, as well as the door of Augsburg, whose symbolic images make many difficulties in reading them, are the exceptions and special cases. There are considerable difficulties in finding theirs connections to the liturgy celebrated in the church. Therefore they must be researched in a special way in the future