Vorlage:1960 Christliche Kunst und Architektur: Unterschied zwischen den Versionen
Aus Romano-Guardini-Handbuch
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* [1960-000] [Englisch] [[Maurice Lavanoux]]: Religious Art in the United States, in: [[Liturgical Arts]], 29, 1960/61, November 1960, S. 5-7 [neu aufgenommen] – [Artikel] - https://books.google.de/books?id=QcdTAAAAMAAJ oder https://books.google.de/books?id=okrWAAAAMAAJ; zu Romano Guardini: | * [1960-000] [Englisch] [[Maurice Lavanoux]]: Religious Art in the United States, in: [[Liturgical Arts]], 29, 1960/61, November 1960, S. 5-7 [neu aufgenommen] – [Artikel] - https://books.google.de/books?id=QcdTAAAAMAAJ oder https://books.google.de/books?id=okrWAAAAMAAJ; zu Romano Guardini: | ||
** S. 6 f. „I deem it a privilege to pay my respects to one whose influence has been great wherever the liturgy, in its relation to art, has been understood and appreciated. I refer to Father Romano Guardini. In his little book The Spirit of Liturgy, which I read in 1927, I found a passage which has been my lodestar since those early years: „The Church has not built up the Opus Dei for the pleasure of forming beautiful symbols, choice language, and graceful, stately gestures, but she has done it – insofar as it is not completely devoted to the worship of God – for the sake of our desperate spiritual need. It is to give expression to the events of the Christian's inner life: the assimilation, through the Holy Ghost, of the life of the creature to the life of God in Christ; the actual and genuine rebirth of the creature into a new existence; the development and nourishment of this life, its streching forth from God in the Blessed Sacrament and the means of grace, towards God in prayer and sacrifice; and all this in the continual renewal of Christ´s life in the course of the ecclesiastical year. The fulfillment of all these processes by the set form of language, gesture, and instruments, their revelation, teaching, accomplishment and acceptance by the faithful, together constitute the liturgy. We see, then, that it is primarily concerned with reality, with the approach of a real creature to a real God, and with the profoundly real and serious matter of redemption. There is here no question of creating beauty, but of finding salvation for stricken humanity. Here truth is at stake, and the fate of the sole and real - yes, ultimately the only real-life. All this is what must be revealed, expressed, sought after, found, and imparted by every possible means and method: and when this is accomplished, lo! it is turned into beauty." | ** S. 6 f. „I deem it a privilege to pay my respects to one whose influence has been great wherever the liturgy, in its relation to art, has been understood and appreciated. I refer to Father Romano Guardini. In his little book The Spirit of Liturgy, which I read in 1927, I found a passage which has been my lodestar since those early years: „The Church has not built up the Opus Dei for the pleasure of forming beautiful symbols, choice language, and graceful, stately gestures, but she has done it – insofar as it is not completely devoted to the worship of God – for the sake of our desperate spiritual need. It is to give expression to the events of the Christian's inner life: the assimilation, through the Holy Ghost, of the life of the creature to the life of God in Christ; the actual and genuine rebirth of the creature into a new existence; the development and nourishment of this life, its streching forth from God in the Blessed Sacrament and the means of grace, towards God in prayer and sacrifice; and all this in the continual renewal of Christ´s life in the course of the ecclesiastical year. The fulfillment of all these processes by the set form of language, gesture, and instruments, their revelation, teaching, accomplishment and acceptance by the faithful, together constitute the liturgy. We see, then, that it is primarily concerned with reality, with the approach of a real creature to a real God, and with the profoundly real and serious matter of redemption. There is here no question of creating beauty, but of finding salvation for stricken humanity. Here truth is at stake, and the fate of the sole and real - yes, ultimately the only real-life. All this is what must be revealed, expressed, sought after, found, and imparted by every possible means and method: and when this is accomplished, lo! it is turned into beauty." | ||
* [1960-000] [[Ekkhart Sauser]]: Symbolik des katholischen Kirchengebäudes, Anhang zu: Symbolik der Religionen, Band 6: Symbolik der katholischen Kirche, hrsg. von Ferdinand Hermann, 1960, S. 55 ff. [neu aufgenommen] – [Artikel] - https://books.google.de/books?id=Tel8pEJFxB8C oder https://books.google.de/books?id=K5iQhd3c4HUC oder https://books.google.de/books?id=spnjAAAAMAAJ; zu Romano Guardini: | |||
** S. 70 f.: „Pius Parsch, ein Augustinerchorherr des Stiftes Klosterneuburg bei Wien, gab seit dem Jahre 1922 das „Jahr des Heils“ heraus, eine Anleitung zur Mitfeier des Kirchenjahres aus den Quellen der Liturgie. Das Werk gewann auf die Weckung eines tieferen Verständnisses für die aktive Teilnahme des Volkes am hl. Meßopfer im deutschen Sprachraum zusammen mit anderen Veröffentlichungen auf diesem Gebiete (R. Guardini) einen großen Einfluß. - Dies wirkte sich nun auch allmählich in der Gestaltung des Kirchengebäudes aus. Rudolf Schwarz („Vom Bau der Kirche", Würzburg, 1938), Romano Guardini, Clemens Holzmeister („Kirchenbau ewig neu“, Innsbruck, 1951), Van Acken, Robert Kramreiter („Neue Kirchenkunst im Geist der Liturgie“, Wien, 1939), Dominikus Böhm, Ferdinand Schuster, Karl Lebwohl, Fritz Metzger, Hermann Baur und Karl Moser aus der Schweiz wie Auguste Perret in Frankreich, Marcello Piacentini, Luigi Figini, Gino Pollini in Italien, Pardal Monteiro in Portugal seien“ nur als einige wenige bezeichnende Verfechter dieser Idee aus Vergangenheit und Gegenwart genannt.“ | |||
* [1960-000] [[Rudolf Schwarz]]: Kirchenbau. Welt vor der Schwelle, Heidelberg 1960, zu Romano Guardini S. 28f. („Romano Guardini hat darauf hingewiesen, daß das Gebet der Kirche nicht christozentrisch ist, denn alle Gebete gehen `durch Christus zum Vater´“) und S. 34 [neu aufgenommen] - [Monographie] - https://books.google.de/books?id=6SJUAAAAMAAJ | * [1960-000] [[Rudolf Schwarz]]: Kirchenbau. Welt vor der Schwelle, Heidelberg 1960, zu Romano Guardini S. 28f. („Romano Guardini hat darauf hingewiesen, daß das Gebet der Kirche nicht christozentrisch ist, denn alle Gebete gehen `durch Christus zum Vater´“) und S. 34 [neu aufgenommen] - [Monographie] - https://books.google.de/books?id=6SJUAAAAMAAJ | ||
Version vom 5. Mai 2025, 06:34 Uhr
- [1960-000] [Englisch] Maurice Lavanoux: Religious Art in the United States, in: Liturgical Arts, 29, 1960/61, November 1960, S. 5-7 [neu aufgenommen] – [Artikel] - https://books.google.de/books?id=QcdTAAAAMAAJ oder https://books.google.de/books?id=okrWAAAAMAAJ; zu Romano Guardini:
- S. 6 f. „I deem it a privilege to pay my respects to one whose influence has been great wherever the liturgy, in its relation to art, has been understood and appreciated. I refer to Father Romano Guardini. In his little book The Spirit of Liturgy, which I read in 1927, I found a passage which has been my lodestar since those early years: „The Church has not built up the Opus Dei for the pleasure of forming beautiful symbols, choice language, and graceful, stately gestures, but she has done it – insofar as it is not completely devoted to the worship of God – for the sake of our desperate spiritual need. It is to give expression to the events of the Christian's inner life: the assimilation, through the Holy Ghost, of the life of the creature to the life of God in Christ; the actual and genuine rebirth of the creature into a new existence; the development and nourishment of this life, its streching forth from God in the Blessed Sacrament and the means of grace, towards God in prayer and sacrifice; and all this in the continual renewal of Christ´s life in the course of the ecclesiastical year. The fulfillment of all these processes by the set form of language, gesture, and instruments, their revelation, teaching, accomplishment and acceptance by the faithful, together constitute the liturgy. We see, then, that it is primarily concerned with reality, with the approach of a real creature to a real God, and with the profoundly real and serious matter of redemption. There is here no question of creating beauty, but of finding salvation for stricken humanity. Here truth is at stake, and the fate of the sole and real - yes, ultimately the only real-life. All this is what must be revealed, expressed, sought after, found, and imparted by every possible means and method: and when this is accomplished, lo! it is turned into beauty."
- [1960-000] Ekkhart Sauser: Symbolik des katholischen Kirchengebäudes, Anhang zu: Symbolik der Religionen, Band 6: Symbolik der katholischen Kirche, hrsg. von Ferdinand Hermann, 1960, S. 55 ff. [neu aufgenommen] – [Artikel] - https://books.google.de/books?id=Tel8pEJFxB8C oder https://books.google.de/books?id=K5iQhd3c4HUC oder https://books.google.de/books?id=spnjAAAAMAAJ; zu Romano Guardini:
- S. 70 f.: „Pius Parsch, ein Augustinerchorherr des Stiftes Klosterneuburg bei Wien, gab seit dem Jahre 1922 das „Jahr des Heils“ heraus, eine Anleitung zur Mitfeier des Kirchenjahres aus den Quellen der Liturgie. Das Werk gewann auf die Weckung eines tieferen Verständnisses für die aktive Teilnahme des Volkes am hl. Meßopfer im deutschen Sprachraum zusammen mit anderen Veröffentlichungen auf diesem Gebiete (R. Guardini) einen großen Einfluß. - Dies wirkte sich nun auch allmählich in der Gestaltung des Kirchengebäudes aus. Rudolf Schwarz („Vom Bau der Kirche", Würzburg, 1938), Romano Guardini, Clemens Holzmeister („Kirchenbau ewig neu“, Innsbruck, 1951), Van Acken, Robert Kramreiter („Neue Kirchenkunst im Geist der Liturgie“, Wien, 1939), Dominikus Böhm, Ferdinand Schuster, Karl Lebwohl, Fritz Metzger, Hermann Baur und Karl Moser aus der Schweiz wie Auguste Perret in Frankreich, Marcello Piacentini, Luigi Figini, Gino Pollini in Italien, Pardal Monteiro in Portugal seien“ nur als einige wenige bezeichnende Verfechter dieser Idee aus Vergangenheit und Gegenwart genannt.“
- [1960-000] Rudolf Schwarz: Kirchenbau. Welt vor der Schwelle, Heidelberg 1960, zu Romano Guardini S. 28f. („Romano Guardini hat darauf hingewiesen, daß das Gebet der Kirche nicht christozentrisch ist, denn alle Gebete gehen `durch Christus zum Vater´“) und S. 34 [neu aufgenommen] - [Monographie] - https://books.google.de/books?id=6SJUAAAAMAAJ
