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Le Corbusier’s pilgrimage at Ronchamp, France. Photo: Groucho / CC BY-NC-ND 2.0 / https://www.flickr. com/photos/grou- cho/13556662883

LIVING STONES The Vernacular in

Alexis Vinogradov

1 Gregory Dix, The The of the Early Christian era the heart of worship that is ultimately Shape of the Lit- was about doing rather than saying. to be expressed and enhanced by both urgy (Westminster: Dacre Press, 1945), This distinction is borrowed from Dom art and architecture. Of course this con- 12–15. Kiprian Kern, Gregory Dix by Fr. Kyprian Kern, who sideration must include literature, mu- Евхаристия (Paris: was responsible for the first major Or- sic, and ritual movement and gesture. YMCA-Press, 1947). thodox investigation of the sources 2 and practices of the Christian eccle- Our earliest archaeological discover- Marcel Jousse, L’An- 1 thropologie du geste sia. The Jesuit scholar Marcel Jousse ies substantiate the nature of the “do- (Paris: Gallimard, reinforces this assertion in writing of ing” performed by the Church. The 2008). the early Christian practice and un- celebrants did not initially constitute derstanding of “eating and drinking” a distinct caste, for all who were gath- the word, rooted in a mimesis of ges- ered were involved in the rites. One tures passed on through generations.2 can therefore understand the emer- “Do this in remembrance of me,” says gence throughout Christian history of at the last gathering with his anti-clerical movements, which have disciples (Lk. 22:19). pushed back against the progressive exclusion of the faithful from areas The present essay is about the ver- deemed “sacred” in relation to the nacular in church architecture. It is “profane” precincts of the . Al- not an examination of those earlier ready at the close of the first century, Church practices, but no exploration Clement of speaks about the of religious art and architecture can be liturgy of the , the liturgy of the meaningful without consideration of priest, the liturgy of the deacon, and the

24 liturgy of the laity. In this designation is ing against the excessive carpeting of presupposed the appropriate training churches, writes: “One comes to the lit- (as much as three years for the laity!) urgy to transact the public business of for all the ranks of faithful. Liturgy, for death and life rather than to be tucked Clement, refers to actions performed in in with fables and featherpuffs.” In a kind of ritual choreography of a har- describing the late medieval introduc- monious whole. tion of pews into worship, he likens it to the placement of bleachers directly For the most part, we have today a bi- on the basketball court, writing that “it furcated liturgy, in which a trained and changes the event into something en- active clergy perform the celebration tirely different.”3 according to arcane rules that exclude 3 Aiden Kavanagh, an essentially passive “audience,” no Elements of Rite: A longer engaged in the sacral choreog- Handbook of Liturgical raphy. Whether tethered in immobile While today we are rarely, if ever, able Style (1966; New pews or rows of chairs or somewhat to experience what the early liturgical York: Pueblo Publish- ing Company, 1982), liberated in a clear floor space, the practices felt like, we can still examine 21–22. In the same faithful nonetheless remain in basically what we know about them and create volume, Fr. Kava- fixed locations as passive observers of a language of architectural space that nagh explores the the cult. This is not to say that silent provides, at the very least, an oppor- great decline in ritual beauty: see especially standing in church is not a form of tunity to restore the spirit of those the chapter “Some participation—in a non-stop age, such practices. There is absolutely no need Common Mistakes,” opportunity for pious standing may be to ape what we discover in archaeo- 72–80. the one antidote to be treasured, and logical research, because the Church’s not countered with concocted liturgi- tradition is a living reality, informed cal “ministries” designed for dubious continually by the . Early aims of inclusiveness! history already perfectly demonstrates this dynamism and resistance to the It would not do justice to the depth of dogmatization of forms and materials. liturgical theology and history to make any summary assertion about how lit- The purpose of both church architec- urgy was once and now ought to be ture and iconography, as they combine done, and on its heels to institute a quick with music and aromas and light, con- liturgical reform. Liturgy is not a game sists not in bringing us to an exalted for scholars and experts. Its evolution perception of external delights, but reflects a slow appropriation of pre- rather in a transformation within the cisely those gestures and forms exam- hearts of the assembled faithful. The ined by Dix, Kern, and Jousse. A certain question for architecture is how it can ritual conformity is not a slavishness to serve its own iconic purpose. In the form, but what they call a unitive “lan- icon we must pass through the paints guage” that speaks across the province and lines to the prototype, just as the of precise verbal semantics. pieces of a parable must move us be- yond the immediate story towards its By the same token, neither the ico- central revelation. Architecture cannot nographer nor the architect is free to satisfy participants by dazzling with pull arbitrary elements out of a file formal and technical gymnastics. The of “Orthodox styles” and apply them forms themselves must move us to- at whim for the sensual satisfaction ward their hidden content, bringing of the community. The Roman Cath- us to Paul’s affirmation of “Christ who olic scholar Aiden Kavanagh, argu- lives in me” (Gal. 2:20).

The Wheel 5 | Spring 2016 25 is the potential word and manifesta- tion of its creator. The Savior arrives in a humble setting. Nothing remains “common,” and that means that dis- tinctions between vernacular and sa- cred are artificial in light of the incar- nation.

The Church’s decline in history began when, from her goal of the salvation of the world so loved by God, she shifted her attention onto herself. One can be a specialist in with little or no interest in one’s surrounding culture. From a living historical and eschatological body reaching outward in mission, made a “choice” (which is the meaning of “heresy”) to idolize particular historical expres- sions of their religious life in self-sat- isfied tribal enclosures. Hence, we can speak of a kind of Byzantine or Russian or Greek captivity regarding liturgy, dress, art, music, architecture, and even an ethos of daily discipline and life unrelated to the prevailing culture. Church of St. Gregory Gothic cathedrals such as the one in It is in fact a denial of history not to the Theologian, Cologne tower 50 stories into the sky see that these forms had their “place” Wappingers Falls, New York. Deisis trying to reach that kingdom which and expression adequate to that histor- mural behind open the Savior says is actually within each ical moment and no other. Our . of us. In my small parish church, the is to examine how those architectonic 16 by 17-foot Deisis mural icon in the “words,” that particular language of sanctuary depicts some 26 figures from architecture and art, “” in and surrounding the glo- thereby transfigured their context— rified Savior enthroned. He is there but all this in order to know what to among them, and yet their individual do with the cultural word particular to gazes are not focused adoringly on him our own time and cultures. in expression of a sentimental delight, but are rather oriented inward. They Students and theologians of early are calm, at peace, knowing that he is insist that Christians did in them and they in him. not create new rites and symbols, but rather filled old symbols with the new Iconographers and architects may de- meaning imparted in Christ. All sub- bate styles and schools, but the living sequent ecclesial evolution implied tradition offers a challenge at every this now familiar duality of the conti- moment to transfigure the historical nuity of the old and the discontinuity “flesh” that is presented to the Church. brought about by the radical newness The Christian Church is material be- of the incarnation, death, and resur- cause its savior is the Word and Son rection of the Son of God. So how are of God become incarnate. All matter we to find an expression adequate to

26 worship today, somewhere between worship could become public, this the third-century of Du- form proved exquisitely accommo- ra-Europos on the one hand and the dating to Christian mural art—whose grandeur of cathedrals and Byzantine origins had appeared already in Dura domes on the other? and the —and evolved pri- marily in its internal articulation. A short essay is not the place to delin- eate principles shaping an architec- Only one major variant ever evolved ture that can take what is perceived to rival this type: the Greek cross, the as vernacular and render it sacred. arms of which accommodated antiph- Often we must look at architecture onal choirs and eventually subsidiary purely, putting aside for a moment its , memorials, , con- specific programmatic purpose. Good fessionals, and the diakonikon or place music, good literature, and good art of proskomide (the preparation of the have an “epiphanic” quality, reveal- Gifts). A lesser-known but unique and ing divine truth by stirring within us liturgically important contribution is the experience of the transcendent for found in Georgian churches, with their which other words may often prove prominent and sensitivity to inadequate. What better summary of the vertical “ascent” from there in the the failure of medieval theology and Liturgy of Catechumens to the to ecclesiology is there than Ivan’s tale of complete the Liturgy of the Faithful. the Grand Inquisitor in Dostoevsky’s It would be helpful to examine those The Brothers Karamazov? In architec- sources that had not come under the ture, an epiphanic character is evident influence of Western liturgical changes in Henri Matisse’s Rosary Chapel and (which ultimately impacted the Medi- ’s pilgrimage church at terranean East as ). Ronchamp. Such examples cannot be adopted outright for Orthodox wor- In light of this history, it is a shame ship, but both reveal architectural sen- that in any given culture its prevalent sibilities that can be experienced and architectonic features and elements are “translated” for Orthodox liturgical not engaged in the service of church life, for the simple reason that each architecture. I have written elsewhere resulted from efforts (however imper- of my disappointment in missed op- fect) to express contemporary liturgi- portunities in places like Japan, rich cal experience in form and light. The with a , art, and vocation of church architects and ico- dress which would have been remark- nographers is not to cater to a client’s ably appropriate to , whim but to interpret tradition—a tra- but where the lure of different and dition in which they must therefore of “exotic”—in this case, ironically, West- necessity be immersed. ern—styles gave rise to an architecture that simply opposes the given culture In the late fourth century, Christian rather than transforming it. architecture adopted the model of the Roman , which lent itself to the To begin a conversation on architec- form of the liturgical synaxis around ture, it might be profitable to suggest the clergy. But the basilica itself was an “apophatic” approach—that is, in some sense the vernacular, albeit to describe what should be avoided. prominently civic, architecture of the This could at least give us a head time, intended simply to accommo- start in recognizing a counterfeit idea date large gatherings. Once Christian when, for example, it is suggested by

The Wheel 5 | Spring 2016 27 a wealthy benefactor desiring to “leave structure and light oppose that his mark.” movement. Economics often play adversely on this point. Best, then, • Don’t import a foreign building that to build in stages. has no relation to anything built in the area already. • By the same token, don’t arrest the sense of movement at the al- • Avoid architectural firms that offer tar wall or iconostasis. I believe a hybrid composed of elements you that the plane or planes articulat- choose from a pictorial buffet and ing the boundary between nave then throw into a computer—and and sanctuary deserve profound out comes your camel that began study and deliberation, as they set his journey as a horse! the tone for the engagement of the worshipping body. Many of the • A is not a rub- assumptions generally accepted ber stamp, but evolves from the today are deeply problematic. consciousness and (often unartic- Theologians will argue until the ulated) desires of a very specific Parousia about the symbolism of community. Do not introduce many the veil and about whether icons distractions; keep things inherently are a “” or a “wall,” but simple at the outset; allow the ico- historically the screen developed nography to develop; and don’t for crowd control and only later leap into final decisions. received its official theological “ra- tionale” as averting the eyes of the • The liturgy emphasizes forward impure (even though, tragically, movement and ascent. Static archi- this impulse began very early in tecture without clear axial direc- the history of the Christian em- tion or vertical transitions through pire). The of New Skete Holy Wisdom Church, New Skete , - bridge, New York. Templon.

28 in Cambridge, New York shows if money falls from the sky (or the how the precursor of the modern lottery). Communities need to re- iconostasis, the templon, worked flect on “optimal” numbers, which as an open yet still space-defin- means considering and perhaps ing that, through its defining what constitutes a viable U-form, invited the faithful to sur- worshiping community in which round and envelop the clergy gath- members can interact with one an- ered around the and the Gifts. other and grow together. This architectural was al- ready evident in the church of St. Euphemia, built in around 416. It is possible that we are now experi- encing (though perhaps not often ad- • Don’t design the building from the mitting or seeing) a critical transition outside in, beginning from a cock- in the nature of the parish church. tail of domes, cross shapes, arched This transition should be examined by , and roof vaults. Rather, all who are engaged in the process of allow liturgical needs to shape sustaining and building faith commu- the building from the inside out. nities. If we are moving towards the Many historical monuments show model of Dura-Europos, it is not nec- how organically building shapes essarily a step back in time or spiritual evolved, as necessary functional development. The return of the house- spaces were added over time. Byz- church invites us to reconsider what antine models in particular suggest said to a woman from Samaria: a marked disregard for the exterior, “The hour is coming, and is now here, often blending into the surround- when the true worshipers will worship ing architectural masses. the Father in spirit and truth” (John 4:23). If such a process means cleaning • While avoiding exaggerated ex- house, putting away inessentials, then terior forms, don’t forget that in should not such a house-cleaning also our contemporary context, the involve the very house in which we building must still “speak” to the gather to worship the Father? community, inviting inquiry and interest. The fact that our worship The defining “moment” in Christian includes gathering, procession, and liturgy can never be reduced to archi- the sanctification of the world out- tecture or iconography or beautifully side means that exterior zones and rendered liturgy. That moment— spaces, platforms and , barri- clearly visible in the faces of the faith- ers and plantings form an integral ful during Holy Week, during Pascha, extension to the building in both during feast days—is the gathering of liturgical and evangelical dimen- “two or three” in the name of Christ. sions. This is why there is no single Everything else exists to serve and building model that can be placed support it. In effect, however, it is com- at will on any site, as each site has plete by virtue of the One who prom- peculiarities that must inform the ises to be with the two or three. The architecture. early Christian gathering understood this—understood that Christ is among • Size matters, and budget is not its us, and therefore gathers us around sole criterion. We can no longer the the gifts of his body and blood on build as big as we can afford, even the altar. Fr. Alexander Schmemann

The Wheel 5 | Spring 2016 29 lamented the decline that occurred in the Eucharistic gathering, for which when theologians began thinking in she establishes the sacred space in the reverse, presuming that the gifts are first place. This “home” is no- bour on the altar and Christ in our midst geois idea of a sentimental, cozy living through what we have said and done. room, but rather a home conjoined to We wrongly imagine that it is we hu- the Father’s house, in which there are mans who set up the conditions for many “mansions” (as there are many God to be present. We have forgotten diverse and unique faithful). the Liturgy’s opening assertion: “It is time for the Lord to act!” We imagine The age of the immigrant ghetto in that only in the “proper” performance America is over. That means that the of liturgy, with the proper music and national styles of , Greece, Mac- texts, with the proper iconography, edonia, and Romania no longer need and inside proper architecture can Or- to be enlisted to hold together a trans- thodoxy be manifest. planted culture in a foreign land. In America at least, while Christians can There is absolutely no doubt that we indeed remain eschatological “strang- ought to apply our efforts at bringing ers” and aliens, they are commis- the best symbolic language to bear in sioned to transform the “flesh” of their all spheres of church life. There is also own historical context just as Christ no doubt that there exists bad architec- labored within the flesh of Palestin- ture, bad literature, bad art, bad mu- ian culture. We are not at the point sic. This is not because its consituent of answers, but merely at the stage of elements are bad, but because they are exploration and discovery. It is impor- misapplied, without prayer, without tant for us to say with humility that understanding, and above all without we are still finding out what we must reference to the one thing needed. That do among new paradigms. Every new reference is the essential ingredient of church building should be an experi- all artistic, musical, and architectural ment—one whose success will not be creation. It is reference to the eschato- measured in architectural critiques logical dimension of life, or, more sim- but by the fruit of a genuine life in ply put, to the experience known to Christ that is facilitated within it. Will the Church concerning the kingdom of it promote the glory of the community, God in Christ, and thus in the Eucha- the glory of its designer, the glory of © 2016 The Wheel. rist. Here, finally, the answer in favor its builder? Or will it show forth the May be distributed for of the vernacular is revealed in the fact glory of God’s kingdom, spilling from noncommercial use. that the Church finds her true experi- its walls into the heart of the neighbor www.wheeljournal.com ence of the mystical notion of “home” and travelling stranger?

The V. Rev. Alexis Vinogradov studied architecture at McGill University and theology at St. Vladimir’s Seminary. Fr. Alexis has designed new Orthodox churches around the United States, several buildings at St. Vladimir’s, and a studio and residence for writer Alexander Solzhenitsyn in Vermont. He has translated a number of Russian works by Frs. Alexander Schmemann and Alexander Men, and is currently translating Fr. Schmemann’s Radio Liberty broadcasts to the Soviet Union in the 1970s. From 1978 to 2015 he was rector of the church of St. Gregory the Theo- logian in Wappingers Falls, New York.

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