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By Dom H. van der Laan, Richard Padovan
Desk of Contents Preface I. creation II. normal varieties III. Cultural kinds IV. Liturgical types V. the 3 Form-Worlds VI. sensible kinds VII. Expressive types VIII. huge types IX. the primary of Liturgical shape X. obvious and Invisible issues
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Extra info for The Play of Forms: Nature, Culture and Liturgy
Example text
If our artefacts are well formed, they carry within themselves the embryo of the signa sensibilia of which the Constitution on the Liturgy speaks. functional forms 45 4. Thus we owe to our human existence all sorts of artefacts. Now, because our existence is played out on three distinct levels—living body, senses and intellect— we come in contact with natural things in three ways. We experience their materiality by touch, we see their form by means of a visual image, and we gain an insight into their nature through a clear understanding of their compositional structure.
Analogy is not just a way of arranging in an orderly fashion the forms we engage with in our daily lives; it is an essential foundation of the structure of our very existence, for after all we are created in God’s image and likeness, and that again is an analogical relation. A very instructive and pertinent example of this way of thinking is to be found in the creed called (after its opening word) Quicumque, and traditionally but incorrectly ascribed to St Athanasius. Together with those of the Apostles and of Nicaea it completes the trio of great Christian creeds.
Just as, with monumental cultural forms, the physical functioning survives only as a foundation for expression, likewise with liturgical signs the completion of nature survives only as background and motivation for the world of cultural forms. Precisely because in liturgy the completion of nature, with its ever-changing circumstances, no longer applies, these forms can be raised to a pure universality. Liturgical and cultural forms essentially the same 9. Thus liturgical forms are essentially no different from cultural forms.