Search

Na tragu izjave Drugoga vatikanskog koncila o homiliji kao sastavnom dijelu liturgije (usp. Sacrosanctum concilium, br. 52) u članku se obrađuje pitanje homiletskog propovijedanja. Riječ je o tome da se utvrdi liturgijsko mjesto i narav homilije kako bi u konačnici sâmo propovijedanje bilo oblikovano slavljem. Pripremati i slaviti homiliju kao liturgijski čin nužno uključuje pitanje kako se iz liturgije može doseći život. U širem kulturnom okviru postmoderniteta homiletsko propovijedanje i liturgijsko slavljenje nisu po sebi razumljivi. Suvremeni čovjek stoji pred homiletskom riječju i liturgijskim slavljem nerijetko ne razumijevajući tu vrstu govora jer ga ne proživljava. Iskustvo se, stoga, čini polazištem nove integracije homilije u liturgiju i liturgije u život. Na tom će tragu ovaj članak tematizirati stanje i perspektive homiletskog propovijedanja s obzirom na njegovu liturgijsku narav i antropološku artikuliranost u okviru kulturnog ozračja naše suvremenosti. Uzevši u obzir da propovijedanje nije tek prenošenje sadržaja vjere, već čin vjere u krilu sakramentalnog slavlja, ovaj će članak na tragu Pavlove ideje o uzajamnosti vjere i besjede (usp. 2 Kor 4,13) pokušati pružiti naznake za mistagoško propovijedanje: govoriti u slikama, homilija kao liturgijski čin, homilija kao proces preobrazbe, homilija kao čin vjere., Following the statement of the Second Vatican Council on homily as a constituent part of liturgy (see Sacrosanctum concilium, no. 52), the article analyses the issue of homiletic preaching. The aim is to determine the liturgical place and nature of homily so that preaching might be formed by celebration. To prepare and celebrate homily as a liturgical act necessarily involves the question of how to reach life through liturgy. In the wider cultural frame of postmodernity, homiletic preaching and liturgical celebration are not by themselves understandable. When facing homiletic preaching and liturgical celebration, the contemporary human being often does not understand that kind of discourse, because he/she does not experience it. Experience should, therefore, be the starting point of the new integration of homily into liturgy and liturgy into life. In that sense, the article thematises the state and perspectives of homiletic preaching in terms of its liturgical nature and anthropological articulacy within the frame of cultural environment of our contemporaneity. By taking into consideration that preaching is not simply transmission of contents of faith, but an act of faith in the bosom of a sacramental celebration, this article will attempt to offer notes for mistagogical preaching by following Paul’s idea of mutuality of faith and word (2 Cor 4:13): to speak in images, homily as a liturgical act, homily as a process of transformation, homily as an act of faith.

Na početku su razmišljanja o mogućemu odnosu umjetnosti i liturgije u širemu kontekstu odnosa teologije i umjetnosti. Umjetnost (osobito likovna) koja je zadobila atribut sakralnoga i liturgijskoga proživljavala je tijekom povijesti različita iskušenja. Budući da je ona najočitiji pokazatelj ne samo činjenice da se odnos između Crkve (kako vodstva tako i zajednice vjernika u cjelini), umjetnosti i umjetnika ne nalazi na zavidnoj razini, nego i načina na koji vjernici žive vlastitu crkvenost, pitanje likovnosti vezane uz liturgijsko ruho i posuđe postaje izazovno. Ono postaje odrazom kršćanskoga nauka u kristologiji i ekleziologiji. Ako umjetnici raznih umjetnosti polaze od liturgijskoga slavlja, veoma će se brzo uočiti posljedice i za 'velike' liturgijske teme, osobito kada je u pitanju liturgijski prostor. Polazeći od oltara i liturgijskoga čina, na samome početku planiranja izgradnje liturgijskoga prostora nametnut će se pitanje cjelokupne liturgijske likovnosti. Tada je itekako važno kakvo je liturgijsko posuđe (ovdje s posebnim naglaskom na kaležu) ili ruho (s posebnim naglaskom na misnici), jer ono je mikroarhitektura slavlja, u drugome se dijelu - na konkretnim primjerima - kroz prizmu podjele na: a) informativne; b) demonstrativne; c) dekorativne; d) mistagogijske predmete, pokušava potkrijepiti tvrdnje te istaknuti smjernice za primjeren pristup današnjim novim traženjima, kako svojim teološkim i estetskim neukusom ne bismo zanijekali objavljenu Istinu., This presentation contains theoretical expressions, the historical development and an encounter with real examples, derived particularly from Croatian heritage and present circumstances. The article begins with reflections on the possible relation of the arts and liturgy, and in a wider context the relation of theology and the arts. Art (especially visual) having acquired sacred and liturgical attributes has experienced during history various difficulties. Due to the fact that the arts are the most evident indicator not only of the fact that the relationship between the Church (the hierarchy and the community of believers as a whole), the arts and the artist is not in an enviable position, and the way in which the faithful live out their association with the Church, the question of visuality relating to liturgical vestments and vessels becomes a challenge. Vessels, in many ways possibly interpreted as secondary for Christian liturgy, represents an internal attitude towards Christian truths concerning the incarnation and redemption through Jesus Christ and ecclesiology. If artists of the various arts begin with the liturgical celebration, the results for 'great' liturgical themes shall be soon evident, especially when the question of the liturgical place arises. Starting from the altar and the liturgical act, the very first stage in planning the construction of the liturgical place, the question of integral liturgical visuality is posed. Indeed, the type of liturgical vessels (here special emphasis on the chalice) or the vestments (with an emphasis on the chasuble), become very important because they are the micro-architecture of celebration. The liturgical vernacular is always a special language, and therefore a meta-language, taken from an area of every day life, subjective intentions and forms of cooperation. Whatever subjectivity would possibly carry the liturgical celebration into mimeses (imitation), it would deny its anamnesis (memorial) and objectivity. Distanced far from high fashion, liturgical vestments and vessels reveal a distancing of the values promoted in the fashion world. It is not advisable to start from the presumption that the arts and liturgy can easily become agreeable, because their harmony is in itself not understandable. The relationship between artistic freedom and liturgical demands for rituality are particularly interesting. For the artist the 'sign' is the most common ownership that communicates itself. In liturgy, the sign is chiefly God's ownership that serves in communicating Christ. It is in this contrast, it seems, that lies today's crisis in the relation of the arts and liturgy. There where art seeks absoluteness, faith has something to offer, while liturgy realizes a 'Christological' criteria of the absolute, preventing art in reducing absoluteness to a personal conception of the world. It is possible to speak of four criteria (silence, faithfulness to God's word, community of the faithful and internal harmony of liturgical entirety) that bring an understanding to liturgical particularity, a level in liturgy where art is itself transformed. This is not an art allowed to concede to isolation and auto-emancipation. Liturgy delivers art from the absoluteness of art, that is, it obliges art to redefine itself. Alongside these difficulties, it is investigative that today art reveals itself as a "substitutive place for that which is not completely mentionable and comprehensible ". The arts are a place of disquiet and awakening of desires leading to integrity in answering the threat to the lose of reality; a place of sentencing protest, resistance, and desires for something altogether different so as to realize life. Today, art occupies a metaphysical and theological place, and for theology, it becomes significant, even as a loci alieni. Having before ourselves this entire complex problem, the second part — using real examples — is divided into: a) informative b) demonstrative c) decorative d) and mista-gogical subjects. It attempts to sustain the assertions and point out the guidelines for an applicable approach to today's new quest, so that with its theological and esthetical distastefulness we would not deny the revealed Truth which has been entrusted to us in fragile vessels (nonetheless vessels) and we should not forget that we have clothed ourselves with Christ.