In issue 629 of The Lair I read with great interest the intervention of Cyrus Lomont, entitled " What idea of \u200b\u200bthe Church in contemporary churches . Theme purely theological treated according to the particular perspective offered by the contemporary church architecture. Issue that requires you to compose two distinct disciplines: theology, which is responsible for reflection on the idea of \u200b\u200bthe Church that express and shape contemporary religious buildings, and the arts to whom it pertains, however, an analysis and aesthetic evaluation of buildings.
The relationship between ecclesiology and architecture is complex and I do not pretend to deal with it, just need to put some points.
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| Chagall, Abraham and three angels |
The first and pre-fixed point to who holds the copyright of the idea of \u200b\u200bthe Church, which is exclusively copyright of God in his mind God has designed from all eternity, and then concretely realized in the history of salvation as salvation history, set to begin create, read in a Christological through Easter paschal mystery of Jesus is the only Christian hermeneutical principle, as the Risen Lord: " must be fulfilled that everything written about me in the Law of Moses and the prophets and in the Psalms. Then he opened their minds to understand the Scriptures "(Luke 24.45-46).
The first account of creation (Gen 1.1 to 2.4 in) celebrates the creative work done by God through His Word, which consists of a double cathedral in which the liturgy is celebrated cosmic cathedral in the order in space and the cathedral by time. While the first cathedral in principle by the Light (Genesis 1:3-5), primitive creature that is the Risen Christ, the firstborn from the dead, the second time, directs the cathedral on the seventh day, the Shabbat (Gen 2.1-4a).
This work creates the space in the world quite separate plans for the sky - earth - deep (Gen 1.1 to 10), decorated floors and filled with all sorts of creatures (Gen 1.11 to 31). The three plans in which the world is distinct, correspond to the three floors of the Ark of Noah (Gen 6:19), the threefold structure of the temple Solomon, divided into Ulam / Vestibule, Ekal / or the Holy House and Debir / Shrine or Holy of Holies (1 Kings 6) and the early Christian basilica divided into the narthex, nave and chancel.
Finally, this ternary structure, the cosmic first, then ship, and architecture is reflected and celebrated in the human person, as we describe certain biblical passages, where the traditional combination of soul and body, "adds a third element, variable: mind (Wis 9:15), spirit (1Tes 5.23), heart (Ps. 16.9), thereby arriving at a tripartite anthropology. This justifies the anthropology
dimensional view of man as microcosm and the cosmos as macro-anthropologists, in which the cosmos, time and man intersect one another, as temples of the living God, as written by the apostle to the Gentiles. " not you know that you are the temple of God and the Spirit of God dwelleth in you? " (1 Cor 3:6).
about the history of the effects of this anthropological vision to mention only two developments. The first is the gesture of greeting. In the West there shaking hands, a gesture by which we show each other unarmed and therefore not hostile, but friendly, in the East join hands in prayer, bowing to each other to revere the divinity present in the ; the gesture dell'inchinarsi Christ at the majesty of each guest is required by St. Benedict in his Rule: " adored in them, his head bowed down or the body prostrate on the ground, the same Christ, so that is also received " (53.7 ).
The second development we find it in the mystical theme dell'inabitazione, as brilliantly described by s. Teresa of Avila Interior Castle in ; father Sicari, and most valuable in a short comment, it compares with the Castle of Kafka, making the abysmal differences emerge on the basis of common human habitation (AM Sicari, Fortresses accessible. Dall ' Kafka's Castle stranger to the Interior Castle of St. Teresa of Avila , Ed. OCD). Kafka describes exactly the contemporary human condition, a condition of alienation and powerlessness in Pirandello became disoriented and shattered condition, precisely because man is beside himself. The possibility of a return date in the conversion, as St. Augustine wrote in the famous prayer: " Beauty so ancient and so new: late have I loved you You were inside me and I was out " (Confessions, X, 27).
The creative work in its unfolding by the light (first creation) to the Sabbath (last creative act), creates time working contrapuntally two registers: the first is a binary log, punctuated by the regular succession of "And the evening and was morning "(Gen. 1,5.8.13.19.23.31) corresponds to the cantus firmus , offset by the second register, the pace hebdomadal from the beginning of the week that orients the time to worship in spirit and in truth (Jn 4 21-24) as its ultimate aim.
Although in Genesis 1 does not speak esplicitametne of the Church, according to the patristic exegesis of the song (Origen, Augustine, Chrysostom), you can glimpse the outlines of Verbi sponsa . ecclesiology is emerging as a cosmic and apocalyptic that crosses all ages and all spaces up to the landing in the final lap of the Trinity, the Son when, after conquering all things to himself, "you will submit to God, that God may be all in all "(1 Cor 15:28).
The two possible paths form a parabola. The first route, dall'ecclesiologia architecture, because it is presupposed by the idea of \u200b\u200bchurch architectural design , whose actual implementation is embodied. The second route, from architecture to ecclesiology, as the concrete churches built forward in time and space presupposed idea of \u200b\u200bthe Church, informing it that the Church in it convenes for the Liturgy. In fact, the sacred building in its spiritual materialism, which architectural environment in which there is the Church's liturgical life, is part of the immediate dimension of the Liturgy, contributing in shaping it.
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