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Janowa ekspozycja dyskursu o chlebie (J 6,25–58/59)

100%
Gorka B.
Studia Religiologica
|
2010
|
vol. 43
35-56
EN
The whole of the sixth chapter of the Gospel According to John is permeated by the motif of food. This is dominated especially by discourse on bread (John 6,25-58/59). Scholars generally opt for a Christological or Eucharistic interpretation of this discourse. A new light is thrown on this in a way eternal dilemma by this article, with an interpretation using a formula of initiation. According to this interpretation bread is interpreted in the whole of the sixth chapter in a way conditioned by the gradual exposition of the titles of Jesus. Jesus as a teacher gives the bread of learning, as a prophet miraculously multiplies the 'bread of symbols' (loaves of bread and fish), as the Messiah he is the true bread, as the Son of God he gives his body and blood as food. The Eucharist, then, is shown as the last type of bread. It is given to the inductees to eat at the end of the process of initiation in the Person of Jesus. In terms of the specifics of the discourse on bread itself, John maintains it essentially on a messianic level, anticipating this way and that, as it were, the stage of initiation of the Son, and then returning to the pre-messianic stage. In the middle of the reference to the anticipation and retrospection we find Jesus as the Messiah, who is the food of the Christian (the catechumen)
2

THE NEO-PLATINIC SUPPER (Neoplatonska Wieczerza)

88%
Boruta T.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
|
2011
|
vol. 4
65-79
EN
The article concerns The Last Supper by Maciej Swieszewski, one of the best known Polish paintings of recent years. The piece presents an eschatological feast. A sumptuous banquet table, whose rectangular shape represents earthly reality, along with the apostles, is placed in a nebulous, heavenly space of a New Jerusalem. In addition, the artist produces an interesting and meticulously studied image of Jesus. By giving him three faces, he creates an entirely new iconography. This original vision originates along the central axis of the composition and radiates to the rest of the painting. Starting from the top, the viewer comes across the vertex of a triangle. The triangle is white to represent the primordial neo-Platonic unity of God; as it descends, it gradually splits into the colours of the rainbow, the symbol of reconciliation, mercy and covenant between the Creator and his creation, as well as the presence of God. The banquet table, overflowing with the fruits of the earth, floating on the endless expanse of water is at once an ark and a sacrificial table. The paintings by Maciej Swieszewski and Aldona Mickiewicz show the scene of the Last Supper in the symbolic light of Neo-platonic philosophy. In the former, a primal tear of God falls on earthly waters, creating new life and starting waves, which emanate from the centre to include the entire painting in symbolic circles of eschatological symbols. In the latter, the square of the table (representing the earthly) is covered with a tablecloth; in the vein of Renaissance architects, who tried to design an ideal temple, a circle formed by crumbs of bread and folds of the tablecloth is inscribed within it. The centre of emanation is the Eucharist, represented by the plate with bread and the wine-filled carafe. Aldona Mickiewicz thus creates a symbolic image of the community of the mystical Church. However, she is uncertain in her vision, stops at the description of the everyday, and openly shares her doubts. Her paintings are not statements but question marks asking about the essence of life. In her The Last Supper, she freezes the moment of rolling up the tablecloth to express her doubt as to whether it will unveil an empty, earthly table or the promised Kingdom of God. Swieszewski, on the other hand, is a visionary. It seems that his enormous erudition and, perhaps, personal faith allow him to steal a glance at the nuptial feast of the Triumphant Church - the wedding of the Lamb.
3

THE LITURGICAL YEAR ACTUALISES THE MYSTERY OF CHRIST (Rok liturgiczny aktualizacja Misterium Chrystusa)

63%
Migut B.
Roczniki Liturgiczno-Homiletyczne (Liturgical and Homiletic Annals)
|
2009
|
vol. 56
272-296
EN
The Liturgical year actualises the mystery of Christ. This follows from the divine and human nature of Jesus Christ, and at the same time from His mysterious being. Jesus Christ is the mysterium of God. In His, starting from the mysterium of incarnation, through particular mysteria of his life on earth up to the paschal mysterium, God saved humankind and revealed His unity in the Trinity. The mysterium of salvation that is combined with the internal life of the Holy Trinity. It is continued in the Church and for the Church. This continuation takes place in two ways: preaching - preaching the mysterium of Christ and its sacramental actualization. The Liturgical year is a concrete context of celebration, and it is itself a celebration of the whole of the mysterium of Christ (the sacrament or else the sacramental of the liturgical year) in reference to the longer period of man's life. Its centre is the paschal mysterium of Christ. The Eucharist is an important tie of the liturgical year. It constitutes not only the centre of celebrations in the liturgical year, but its theological contents are, so to say, repeated all over the liturgical year. The liturgical year combines in itself preaching the mysterium of Christ (the Gospel) and its sacramental actualization. It confers on the preaching of the word of God a more profound sacramental dimension - the actualization of salvific events.
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