Search Results (7)

The Logos has made a Garden. That short sentence might sum up the ‘eco-theology’ (or, as some would have it, theo-ecology) of Joseph Ratzinger—Benedict XVI. It is ripe for unpacking, by considering not only his general approach to the God–world relation (always presupposed as this is in his comments on environmental issues) but also how his theological insights into the created realm, understood as humanity’s common home (oikos), might now be taken further in the great pope’s footsteps, drawing on the doctrinal and hagiographical traditions of the Church. Full article

This paper seeks to interpret the biblical metaphor of the hortus conclusus (closed garden) according to a Mariological projection, as presented iconographically in various Quattrocentro Annunciations. The author bases his interpretations on the exegesis developed by many Latin and Greek-Eastern Church Fathers and theologians, who considered this metaphorical expression of the Song of Songs to symbolize Mary’s virginal divine motherhood and perpetual virginity. Their textual interpretations of this doctrine helps elucidate the Mariological meaning in six Quattrocento paintings that include a more or less explicit “closed garden.” These six paintings present a closed garden as a visual metaphor illustrating the Mariological dogmas unveiled by the Church Fathers and theologians when explaining this biblical metaphor. Full article

Senile trees in historic church gardens have natural, aesthetic, historical, and cultural value. Cutting them down too hastily annihilates the achievements of entire generations. We should try to preserve the greenery surrounding historic churches and integrate it into a clear compositional arrangement with the sacral architecture. The primary purpose of the paper was to describe the process of inventorying 200-year-old trees and to present the revalorization project for the garden around the historic Orthodox church in Horostyta, located in the Lublin Voivodeship, in southeastern Poland. The church complex consists of a wooden 18th-century building, bell tower, garden, and cemetery. Within the church garden’s boundaries, there are 15 trees, with two predominant species: Acer pseudoplatanus L. and Tilia cordata Mill. These trees are of varying ages and health conditions. We used acoustic tomography to perform tree health diagnostics. Three trees, for which the initial visual assessment was disturbing, were examined thanks to detailed tomography tests. Then, through a project adapting the church garden to the health conditions of the ancient trees, they were separated from users by flowerbeds and no small architectural objects were placed around them. The presented development concept forms a compromise between tradition and the modern user’s needs. In 2007, a general renovation of the temple building was completed. Currently, the presented project for the church garden is being implemented. Full article

This article explores the sculptural programme of the west portal of Saint-Martin-de-Besse, which places Penance and the Eucharist sacraments at the centre of its polysemic narratives, forming chiastic sequences. Concerned with the fall of humankind and the history of redemption, the portal of Besse presents a series of enigmatic figures from the Old and New Testaments, along with an early Christian figure, Saint Eustace. In this article, I first present a brief historical overview of the church and its surroundings and then proceed with an iconographical survey of its portal. I argue that the series of sculpted narrative vignettes forming the west façade of Besse are polysemic as they carry multiple meanings. Focusing on salvation through (re)conversion, where the liturgical sacraments of Penance and the Eucharist are fundamental, these polysemic narratives form and perform four distinct chiasmus interchanges involving the Garden of Eden, where time and space are in constant dialogue. Full article

In the gardening world, potting refers to the cultivation of plants by cutting, layering, and replacing nutrients-depleted soil with new soil in larger pots to accommodate the growth process. This understanding seems helpful in describing ecumenical worship. There are two perspectives about this phenomenon. On one end of the liturgical practice spectrum, it is perceived as a “least-common-denominator” worship form where contested expressions are cast aside and replaced by elements that are acceptable by everyone. As a result, ecumenical worship is held up as a product of complex negotiation but displays a remarkable lack of spiritual depth in its outcome. On the other end, there is the World Council of Churches—a fellowship of 350 churches that is regarded as the epitome of ecumenism in practice particularly its worship celebration. The assembly, convened every eight years, is seen as a “best practice” showcase for ecumenical worship. In fact, many of the “global songs” being sung by our congregation were premiered in this ecumenical setting. How might we make sense of these perceptions? To that end, this article seeks to describe a suitably appropriate method in planning ecumenical worship and to identify elements that this worship genre needs to consider in its rendition. The efforts of the 2022 assembly worship planning committee of the World Council of Churches serves as the case study. Theo-liturgical principles that define this worship design are examined and discussed. By this, insights may be garnered to help local congregations appreciate this distinctive liturgical form that has its raison d’etre as an expression of Christian reconciliation and unity and to understand what is needed to successfully design such services. In so doing, the work of congregations may be strengthened to face the resurgence of racism and xenophobia in their local contexts. Full article

This essay will suggest that Dante’s journey through the earthly paradise in the Purgatorio is a figural representation of the journey of Cleopas and the unnamed disciple on the road to Emmaus in Luke 24. By making several references to the Gospel of Luke, Dante seems to be setting the stage for the reader to understand his own pilgrimage through the Garden of Eden as a retelling of the Emmaus story in the context of the Church Triumphant. Indeed, reading Luke 24 alongside Cantos XXIX–XXXI of the Purgatorio helps students to unpack the complex images of Dante’s experience in light of the themes present in the Emmaus story. For example, the concealment of Beatrice’s face and the gradual unveiling of her beauty mirrors Christ’s gradual revelation of his nature to Cleopas and the unnamed disciple. Cleopas and his companion also walk away from the promise of God revealed in Christ by leaving Jerusalem, just as Dante “took himself” from Beatrice and “set his steps upon an untrue way” (XXX 125, 130). In developing these and other parallels as well as elaborating on their significance for the latter cantos of the Purgatorio, this essay will attempt to establish a pedagogical approach to Books XXIX–XXX that draws on students’ recollections of the familiar Gospel text of Emmaus, which Dante clearly intends (among others) as a resource for appreciating his vision of an essential passage in Christian life. Full article

The range and use of ecosystem services provided by urban sacred sites has hardly been considered in studies of urban ecology, sustainability and human wellbeing. This paper examines the perceived ecosystem services supplied by green spaces or gardens associated with places of religious worship and appreciated by worshippers in a mid-sized town in South Africa. A questionnaire with open, closed and Likert scale questions was administered at 30 places of worship (25 with gardens and five without). Respondents identified a wide diversity of ecosystem services provided by gardens, with social ones being more recognized than ecological, and economic services the least. Approximately two-thirds of respondents visited a sacred site garden weekly or more often. The majority of respondents (96%) felt that a garden was necessary because it added to their feelings of connection with God, or helped them relax and so be better able to concentrate, and 54% stated that a garden enhanced their overall spiritual experience. Regression analysis revealed that aesthetic appreciation of a garden was significantly related to woody plant species richness, number and basal area in the garden. On the other hand, spiritual experience was positively related to woody plant basal area, but not species richness nor tree number. Neither size of the garden, nor number of years the respondents had been vising a particular sacred site had any influence on the rated spiritual or aesthetic experiences. These results reveal the widely appreciated ecosystem services provided by urban sacred spaces and their centrality in enhancing spiritual satisfaction for some. Full article