Tuesday, November 27, 2012
Return of the Roman Chasuble: Beauty in the Liturgy
With a quiet matter-of-factness, beauty is returning to the liturgy.
We are today taking into better consideration the historical, geographic and social insights of the worship of GOD in the Latin Rite.
The age of deterioration of liturgical art is ending. Today it is okay to wear a Roman style chasuble. At the bottom of it all is the correct concept which represents the integration of the fundamental values of the beautiful, the true and the good.
The 1960s unfortunately coincided with a general Council of the Church. The timing could not have been worse. The disastrous withdrawal of the decorative behind the integral and existential meaning of the beautiful became overpowering in culture and even in church circles. It all coincided with the extensive collapse of belief itself.
The 1960s cult of the unhewn and unfinished and cheap is already behind us. The artistic ideas of that time no longer prevail - that the greatest possible efficacy is to be aimed at with the least possible expenditure, or that raw materials are to be employed according to their own laws governing them, or that the execution of workmanship must correspond to the not always so clear meaning of the spiritual idea which it is to express.
The sharp rejection (non-conformism) of the sixties came out of seemingly nowhere and hit the Church hard. Since the Reformation, the aesthetic aspect of the liturgy had been frequently assessed by those outside the Church. Building up for some years, the Church was not prepared for this change in culture. Catholic artistic taste caved to the mounting critical observation (characteristic of Goethe, etc.) that peaked and blew open in 1968. Any opposition was accused of clinging to nostalgic admiration (romanticism).
Catholics of today take the standpoint that a sacrament makes present in visible form an invisible and spiritual grace, indicated by its institution and containing sanctification. It has come to pass that the sacraments are and should be enshrined in beauty.
The sixties brought metal liturgical art that resembled protruding plasticity. This is now over. A certain gnostic religiosity refused to allow any union of art and liturgy. This has ended. The similar mentality based on the independence or self-sufficiency of art is ending, too. The modern existentialistic dislike of material objects (or multiplication of material objects) in connection with worship, remains, but this time we are ready for it.
at 4:22 PM