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Communion Under Both Kinds in the Lublin Frescoes and Gregory Tsamblak’s Liturgy at the Council of Constance

by Mirosław Piotr Kruk

Religions 2025, 16(3), 391; https://doi.org/10.3390/rel16030391 - 20 Mar 2025

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Communion Under Both Kinds in the Lublin Frescoes and Gregory Tsamblak’s Liturgy at the Council of Constance. The aim of this publication is to draw attention to the fact that a rather lengthy discussion of the peculiar depiction of the Communion of the Apostles in the krthodox paintings of the Roman Catholic chapel of Lublin Castle has overlooked the fact that the Orthodox Metropolitan of Kiev Gregory Tsamblak, who was an envoy of the founder of the frescoes, i.e., King Władysław Jagiełło of Poland, to the Council of Constance, gave Communion under two forms during the liturgy he celebrated there and that this was recorded in the annals of the Council. Several issues are worth considering here—the depiction of this Communion in a Roman Catholic Church, its unusual form and the fact that Tsamblak celebrated this liturgy at the Council, which gave separate attention to the question of Communion under both kinds. Metropolitan Tsamblak appeared at the Council in 1418, the same year in which the Lublin paintings were made. It is likely that it was Tsamblak who may have worked with King Władysław Jagiełło to set their programme, just as they both united their efforts to create a framework for Christians of different denominations to coexist within one state organism. Thus, it also seems important to recall this remarkable person and the role he played at a key moment after the unification of the Kingdom of Poland and the Grand Duchy of Lithuania. Full article

(This article belongs to the Special Issue Disseminating Christian Beliefs Through Word and Image in Medieval and Renaissance Times)

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Open AccessFeature PaperArticle

Late Bergman: The Lived Experience of the Absence of God in Faithless and Saraband

by Thomas Hibbs

Religions 2016, 7(12), 147; https://doi.org/10.3390/rel7120147 - 15 Dec 2016

Cited by 1 | Viewed by 7959

Abstract

Acclaimed as one of the great filmmakers of the 20th century, Ingmar Bergman is for many an arch-modernist, whose work is characterized by a high degree of self-conscious artistry and by dark, even nihilistic themes. Film critics increasingly identify him as a kind of philosopher of the human condition, especially of the dislocations and misery of the modern human condition. However, Bergman’s films are not embodiments of philosophical theories, nor do they include explicit discussions of theory. Instead, he attends to the concrete lived experience of those who, on the one hand, suffer from doubt, dislocation, and self-hatred and, on the other, long for confession and communion. In the middle of his career, especially in his famous faith trilogy of the early 1960s, Bergman investigated the lived experience of the absence of God. It is commonly thought that after this period, the question of God disappeared. However, in his last two films, Faithless and Saraband, Bergman explores the lived experience of the absence of God. Indeed, he moves beyond a simple negation to explore the complex interplay of absence. He even illustrates the possibility of a kind of communion for which so many of his characters—early, middle and late—long. Full article

(This article belongs to the Special Issue Film and Lived Theology)

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