Earlier this month, I celebrated my carnal birthday. But man must be born again (John 3:3) in order to enter the Kingdom of God. I grew up non-denominational and then later attended an Evangelical Covenant Church so this verse was frequently wrested from its context as I grew up. We skipped right over to John 3:16 where Jesus explains those who believe in him shall not perish but have life everlasting. While this is true, believing him also means believing in the Church which is his body (Rom. 12:5) and the pillar and ground of truth (1 Tim. 3:15).
Sunday, October 25, 2020
My Spiritual Birthday
Earlier this month, I celebrated my carnal birthday. But man must be born again (John 3:3) in order to enter the Kingdom of God. I grew up non-denominational and then later attended an Evangelical Covenant Church so this verse was frequently wrested from its context as I grew up. We skipped right over to John 3:16 where Jesus explains those who believe in him shall not perish but have life everlasting. While this is true, believing him also means believing in the Church which is his body (Rom. 12:5) and the pillar and ground of truth (1 Tim. 3:15).
Wednesday, October 21, 2020
East Meets West in Spiritual Warfare
St. Nicodemos the Hagiorite is well-known and rightly reverenced in the Byzantine rite for several things. Sadly, he is largely become known as more legalist as he writes upon the holy canons of the ancient faith. But he was also a compiler and an editor of sacred documents. St. Nicodemos also maintained many relations with Catholic theologians who approached him for counsel on Mt. Athos. Somehow, he would end up in possession of a spiritual work from one of these Catholic theologians. That spiritual work was The Spiritual Combat by Dom Lorenzo Scupoli.
It is in The Spiritual Combat where we see the differences between East and West in their given spiritualities sharply differentiated. This is not to say the differences are major. St. Nicodemos surely would have never given an adaptation to The Spiritual Combat if he thought that! However, there are peculiarities. The peculiarities are small, perhaps trivial, and definitely nuanced, but they exist nevertheless. One can see this in the liturgy and one can see this in the prayer. For the Church, the teaching is all in the lived tradition of the saints. It is better to focus on the prayers of the Church if one wants to assess doctrine. Thus it was that St. Nicodemos the Hagiorite began to revise and construct an adaptation of The Spiritual Combat which became known to Eastern readers as The Unseen Warfare. He included notes that emphasized and corrected the teaching of the Latin and brought it to a more Orthodox understanding of spirituality.
"After narrating your entire charity, you narrated the eternal reward you wanted to give to every single creature, according to the fruit she received from the passion [silence] I believe that you failed to narrate to him and communicate to him the deification you wanted to give to our souls by means of your passion, because, once we respond to them, all your gifts, all your graces, make us gods by participation and, moreover, with the vestment of your Blood your passion is so powerful that we, as Jacob did, are able to deceive your eternal Father." (The Probation)
Due to the course taken in the West, much of the rich spiritual tradition had been lost even as Dom Lorenzo Scupoli writes The Spiritual Combat. Thus, there was great need to edit the text to bring it into harmony with Orthodox teaching. However, with the editing of the text by St. Nicodemos and then even further by St. Theophan the Recluse, we see that there is a great unity between Byzantine spirituality and Latin spirituality. When the ancient teachings are brought back into the Church and emphasized again, we see the fervent emphasis on supernatural grace. That the Christian life is ultimately one of supernatural essence which is carried out in both Western and Eastern expressions.
Thursday, October 15, 2020
How Beautiful is Our Lady?
The Ever-Virgin Mary, the Blessed Theotokos and Immaculate Queen of Heaven is the most beautiful created being in all of human history. It is no accident that St. Nectarios declares in his hymn,
More precious than the cherubim/ more glorious than the seraphimSurpassing principalities/ dominions, thrones and powersRejoice, song of the cherubim/ Rejoice, hymn of the angelsRejoice, ode of the seraphim/ and joy of the archangelsRejoice, O peace; Rejoice, O joy/ and haven of salvationO bridal chamber of the Word/ unfading, fragrant blossomRejoice, delight of paradise/ Rejoice, life everlastingRejoice, O holy tree of life/ and fount of immortality
"[T]he sight and speech of the unwed and completely incorruptible mother was the height of grace and glory, and the character of her form was beyond all human understanding. Nothing of the customary pain and weakness of childbirth appeared in her, but she was brilliant and exceedingly beautiful after the birth, for she too was filled with the grace and light of the birth, and it was a wondrous thing for all who saw it." (The Life of the Virgin)
Tuesday, October 13, 2020
The Theology of Church Architecture
We didn't know whether this was a church or a Satanic temple but presbytera was hoping we mistakenly set foot in a Satanic temple, nevertheless. |
With Bruvver Eccles's ongoing World Cup of Ugly Churches, I felt it would be appropriate to comment and expound on the theology of Church architecture a bit more. There's plenty of brutalist styles to select from and that can be easily condemned in today's world but for most people, architecture seems to be a superfluous stylistic influence, not something worth splitting the Church on, is it? But it is indeed highly important! Ever since Vatican II, the emphasis on prayer has been mitigated in the Church. The nouvelle théologie did much more to tear us up from our roots than it did to drive us back all in the dubiously ironic claim that it was "bringing us back to our roots". And Church architecture plays a significant role in the prayers of the Church.
Better at architecture than any Scandinavian today. |
Met. Hilarion Alfeyev gives a brief history and theological explanation of Church architecture in Orthodox Christianity, Volume III: The Architecture, Icons, and Music of the Orthodox Church. In it, he cites St. Maximus the Confessor,
God's holy Church is a symbol of man; its soul is the sanctuary; the sacred altar, the mind; and its body is the nave. A church is thus the image and likeness of God. The nave is used as the body should be used, for exemplifying practical moral philosophy; from the sanctuary the Church leads the way to natural contemplation spiritually as man does with his soul; and she embarks on mystical theology through the sacred altar. (The Mystagogia 4, in Architecture, Icons, and Music of the Orthodox Church, 34)
The measurements used derive from the human body which at the foundation, "lies the principle of harmonious correlation between parts and the whole as well as the interrelation of parts between themselves" (35). This principle was even used in pagan temples though it has its roots in Christianity from the Solomonic Temple of the era before the Babylonian Captivity.
The golden ratio is applied thoroughly in ancient Byzantine and Old Russian Church architecture. This is when "the ratio of the larger portion to the smaller is equal to the sum of both parts of the segment to its larger section" (36-37). Such proportions "were a guarantee not only of [the church's] beauty and longevity but also of good acoustics....Primarily, the force of sound was amplified by arched openings and overhead coverings." (38)
Example of Naryshkin baroque. |
When Tsar Peter the Great reigned, he oversaw a period that would westernize much of Russia. In doing this, Russian architects, influenced by Italian counterparts, adopted the Naryshkin baroque style. "Peter changed the meaning of traditional Russian measurements by coordinating them with English ones." (63) The sazhen became an English foot, which was shorter than the traditional sazhen in measurement by 1 percent. Only a house-builder who has to follow strict code nowadays can understand the mathematical consequences. Such would lead to an "absence of a correlation between the form of the structure and its liturgical purpose. Often a huge church would have a disproportionately small sanctuary, resulting in discomfort during divine services." (65)
Classical baroque. Note the assymetry. |
Met. Hilarion Alfeyev only intends to focus on Church architecture from an Orthodox Christian perspective but his insight on this issue is valuable in considering the theology of Church architecture for the Church in its entirety. When such considerations are given to proportions, acoustics, comfort, and beauty, the question really becomes a matter of whether the architecture of the Church building points toward the splendor of Heaven or is it a purgatorial suffering that must be "put up with" on this Earth in order to attain eternal life. The comments from the envoys of St. Vladimir of Kiev regarding Hagia Sophia was that they didn't know whether they were in Heaven or still on Earth. The liturgy is certainly not a purgatorial suffering and how we frame our architecture is crucial to the experience of divine worship. Baroque architecture has its weaknesses but the architects have sought to preserve the beauty of the liturgy whereas the modernist brutalist architects are callous and have hearts hardened even more so than the lumps of concrete exposed in their designs. Let brutalism be anathema!