Vorlage:1956 Christliche Kunst und Architektur: Unterschied zwischen den Versionen
Aus Romano-Guardini-Handbuch
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## S. 21: „In Germany, interest in the relationship between liturgy and art was strong in the Catholic youth movement, and Romano Guardini made important contributions to the subject in lectures and writings.“ | ## S. 21: „In Germany, interest in the relationship between liturgy and art was strong in the Catholic youth movement, and Romano Guardini made important contributions to the subject in lectures and writings.“ | ||
## S. 47: „Guardini's comment on this situation, in Das Ende der Neuzeit (Würzburg, 1951) [1 English translation The End of the Modern World (New York, Sheed & Ward, 1956)]: "Nature (in the sense operating in science and technics) has withdrawn to a distance, so that direct relationship with it is no longer possible. It can no longer be conceived visually but only abstractly. It has become more and more a complex arrangement of relations and functions, expressible only in mathematical symbols and dependent on something to which no definite name can now be given. This new nature can no longer be felt or at any rate only with feelings of a very fine-spun, marginal nature: as the utterly alien, ineffable, inaccessible. But we must be wary even here. For this, too, probably involves new tasks and opportunities. It may be that the limits of experience are being extended, so that things will come to belong to the world of experience which could not hitherto be felt. But it may be, too, that a kind of indirect extra sense is being developed, by which things which had their place hitherto only in abstract thinking will become part of actual living. Perhaps this development may link up with abstract art.““ | ## S. 47: „Guardini's comment on this situation, in Das Ende der Neuzeit (Würzburg, 1951) [1 English translation The End of the Modern World (New York, Sheed & Ward, 1956)]: "Nature (in the sense operating in science and technics) has withdrawn to a distance, so that direct relationship with it is no longer possible. It can no longer be conceived visually but only abstractly. It has become more and more a complex arrangement of relations and functions, expressible only in mathematical symbols and dependent on something to which no definite name can now be given. This new nature can no longer be felt or at any rate only with feelings of a very fine-spun, marginal nature: as the utterly alien, ineffable, inaccessible. But we must be wary even here. For this, too, probably involves new tasks and opportunities. It may be that the limits of experience are being extended, so that things will come to belong to the world of experience which could not hitherto be felt. But it may be, too, that a kind of indirect extra sense is being developed, by which things which had their place hitherto only in abstract thinking will become part of actual living. Perhaps this development may link up with abstract art.““ | ||
# [[Josef Hoster]]: Probleme des zeitgenössischen Kirchenbaues in Deutschland, in: [[Das Münster]], 9, 1956, S. 273 ff. [Artikel] - https://books.google.de/books?id=rk7rAAAAMAAJ; zu Romano Guardini: | |||
## S. 275: „Wir haben eine Abscheu vor schmeichelnden Räumen, der gemütvollen Kirche. Davon aber ist sehr wohl zu trennen die „Einstimmung“, die eine Kirche leisten soll, die dem Gläubigen die Hinlenkung zum Geschehen auf dem Altar erleichtert, ihn erhöhend beeinflußt, ihn trennt von seinen profanen Bewußtseinsbezirken, von denen er sich für den Gottesdienst lösen muß – Gedanken, wie sie Romano Guardini ausgesprochen hat.“ | |||
Version vom 17. Februar 2024, 21:48 Uhr
- [Englisch] Anton Henze: The Potentialities of Modern Church Art and its Position in History, in: ders./Theodor Filthaut: Contemporary Church Art, 1956, S. 15-48 [neu aufgenommen] – [Artikel] - https://books.google.de/books?id=rSZH94n4ZrwC; zu Romano Guardini:
- S. 21: „In Germany, interest in the relationship between liturgy and art was strong in the Catholic youth movement, and Romano Guardini made important contributions to the subject in lectures and writings.“
- S. 47: „Guardini's comment on this situation, in Das Ende der Neuzeit (Würzburg, 1951) [1 English translation The End of the Modern World (New York, Sheed & Ward, 1956)]: "Nature (in the sense operating in science and technics) has withdrawn to a distance, so that direct relationship with it is no longer possible. It can no longer be conceived visually but only abstractly. It has become more and more a complex arrangement of relations and functions, expressible only in mathematical symbols and dependent on something to which no definite name can now be given. This new nature can no longer be felt or at any rate only with feelings of a very fine-spun, marginal nature: as the utterly alien, ineffable, inaccessible. But we must be wary even here. For this, too, probably involves new tasks and opportunities. It may be that the limits of experience are being extended, so that things will come to belong to the world of experience which could not hitherto be felt. But it may be, too, that a kind of indirect extra sense is being developed, by which things which had their place hitherto only in abstract thinking will become part of actual living. Perhaps this development may link up with abstract art.““
- Josef Hoster: Probleme des zeitgenössischen Kirchenbaues in Deutschland, in: Das Münster, 9, 1956, S. 273 ff. [Artikel] - https://books.google.de/books?id=rk7rAAAAMAAJ; zu Romano Guardini:
- S. 275: „Wir haben eine Abscheu vor schmeichelnden Räumen, der gemütvollen Kirche. Davon aber ist sehr wohl zu trennen die „Einstimmung“, die eine Kirche leisten soll, die dem Gläubigen die Hinlenkung zum Geschehen auf dem Altar erleichtert, ihn erhöhend beeinflußt, ihn trennt von seinen profanen Bewußtseinsbezirken, von denen er sich für den Gottesdienst lösen muß – Gedanken, wie sie Romano Guardini ausgesprochen hat.“
