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Cosmos-Liturgy-Sex

March 26, 2006

Christian Dualism

Filed under: Anthropology,Liturgy & Sacraments — David @ 1:23 AM

Sandro Magister’s latest article focuses on a brand new Catholic church constructed in Rome, and designed by American architect Richard Meier. Magister begins his article discussing the reason for the church’s construction–it was for the 2000 Jubilee Year. He discusses its symbolism–the church is supposed to represent the bark of St. Peter with three main sails representing the Trinity and the large main sail representing God’s protection of His people. His problem is that this must be explained. In addition, the church itself is spartan in terms of images and decoration. Apparently this is quite clear to everyone as Magister describes preparations for the Holy Father’s visit today.

The same crucifix that is above the altar – a beautiful seventeenth century crucifix made of wood and pasteboard – had to be brought in from another church on the outskirts of Rome. In another corner, a blue and white statue of Mary on a plastic pedestal has been set up haphazardly. These last instances are signs of a desire to fill up an emptiness that is felt as unbearable.

I do not believe that this Catholic nod to modernity is not without its roots in the Reformation. Reformed tradition, following Calvin’s notion of total depravity and a dualistic division between body and soul, a Christian Dualism if you will, greatly influenced spartan Reformed architecture and decoration. Reformed worship services emphasize the intellectual and are generally short and spartan in terms of the liturgical. In the U.S. especially, this spartanism has affected the other Protestant traditions. I suppose this is the influence in modern secular architecture?

This dualism is an offshoot Nominalism; the outcome of a decadent Aristotelianism. It is historically linked to Nominalism by way of Cartesian scholasticism. It is logically linked to it through the Nominalists’ focus on the reality on the concrete singular. However, this Aristotelian approach went awry and ended up denying the objective status of the universal. This is the root of modern subjectivism, of the distinctively modern separation of body and soul, mind and world. The universal becomes locked in our own mental cabinet. The concrete singular is then unknowable.

Christian Dualism has been edging its way into popular thinking and Catholic architecture and liturgical decoration since midway through the 20th century in the U.S., maybe earlier in some circles. It took off after the Second Vatican Council. It is uncommon to enter a church built since the early 1960s an not seen large empty white walls and have to hunt to find a statue or even the Stations of the Cross. In our liturgical practices we have largely eliminated most of the faithful’s bodily gestures. With those few gestures remaining it is rare to see them observed (e.g. striking of the breast during the Confiteor and bowing during the Creed).

Christian Dualism can be described as the conception that the body matters little; what is truly important is the soul. The body is simply, at best, a shell that holds the soul; at worst, it is the prison from which the soul seeks to escape. This is not Christian. The human person is a unity of body and soul. One single entity. This is the way we will spend eternity after the final resurrection. The dignity and glory of the body was shown by the Incarnation.

The human person is incarnational. Except for the rare instances of infused knowledge, everything comes to us through our five senses. Our bodies reveal our souls because our souls give shape and motion to our bodies. That which we experience through more of our senses becomes more real to us, it is more integrated into our person. This is the reason the Sacraments are so powerful. It is also the reason that Catholics have always held Christian art and artistic architecture in such high esteem.

We need to shake every dualistic presupposition from our thoughts and recover an incarnational faith. This by the way is what Gen-Y is pining for. It is interesting that those of the virtual generation are the ones who are demanding the “smells and bells” be put back into worship.

We have starved ourselves and our children from a more authentic experience of liturgy for far too long. It is time we rediscover who and what we really are and return Catholic liturgical expression back to its full-throated incarnational glory.

Updated: Hierothee’s comments have been incorporated.

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5 Comments »

  1. I have to say I’m not teribly impressed with the church–it seems a throwback to the period 1945-65. I’m not convinced by the CLS anaylsis, either. I can’t say I agree with your assessment of post-conciliar architecture. Thinking of churches I’ve seen built or renovated post-1980, I can’t think of a singel example as you describe it. Maybe there’s more of an expectation modern architecture will be offensive, but the mainstream of Catholic architecture predated the nostalgic trend in ballparks by at least a decade.

    It would be interesting to read Meier’s take on the project. Most architects are given their guidance from pastors mainly and building committees secondarily. It’s possible also that many buildings like this are put up on the cheap, as they were in post-WWII North America.

    Comment by Todd — March 26, 2006 @ 10:03 PM

  2. Your comments are always deep and often beautiful — A question, as I do not see an inherent evil in modern architecture, and some inherent good — Is there a way to build sublime and uplifting structures, conducive to prayer and worship, respectful of and incorporating the long history of the Church, that work with current (and I do not say “modern” as this is always a bit of a conceit, as if history stopped now, and as if all “progress” is forward)building methods and materials.

    Comment by angelic doctor — March 28, 2006 @ 1:23 PM

  3. AD -

    I am certainly not an expert in modern architecture but its presuppositions as I understand them do seem antithetical to Catholic architecture. Some of the tenet is a separation from historical precedents, a dualistic division between form and function where form is considered irrelevant and function carries the day, and a penchant for minimalism.

    Catholic liturgical developments are at once organic; meaning to be legitimate, they must arise from and be consistent with the past. This same principle ought to apply to architecture.

    Function and form must receive equal consideration. Form is fundamental to sacramental efficacy in which it mediates grace, it mediates meaning in symbols. Again, this is also important in architecture.

    Christian art, of which architecture is an expression, is to glorify God in the beauty of His creation. I suppose it is possible, but it is hard for me to see how minimalism which minimizes the visual experience can evoke the glorification of God.

    If there are other definitions of modern architecture that would overcome these issues then perhaps there is the possibility of it organically integrating. If not, it seems to me that an architect driven by the principles of modern architecture as I have listed them, would end up like we see today, with largely unsatisfactory results.

    Comment by David — March 28, 2006 @ 6:27 PM

  4. I’m a bit of a blog addict, and I’ve really been enjoying my first time reading yours, but this sentence really got me:

    “I do -not- believe that this Catholic nod to modernity is -not- -without- its roots in the Reformation.” (emphasis mine)

    By my count, this is a triple negative, which I suppose does equal a positive, but it took me about five minutes to figure out the meaning.

    Anyway, great blog!

    Comment by JH — April 6, 2006 @ 10:46 PM

  5. JH – thanks for reading so closely and the kind comments. You are the unfortunate recipient of one whose writing acumen was developed in the engineering profession. I will try to keep an eye out for those pesky triple negatives (which you are correct results in a positive) in the future.

    Comment by David — April 7, 2006 @ 12:52 PM

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