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NEW STAINED GLASS LIGHTS OF ICON
Abstract
Poland is situated in the area of cultural and religious borderland, in the sphere of Greek-Slavonic and Latin influence. In the past, mutual contacts and attempts to exchange values were limited. Both churches, Roman Catholic and Orthodox, were structures of a rather closed character. However, examples of modern churches in Poland seem to prove that these separation tendencies of both Christian churches and cultures are now being reversed, which is not only a symptom of mutual dialogue, exchange of ideas, values and different forms of worship, a symptom confirming an authentic will of ecumenical unity in art. The old, beautiful examples of the synthesis of Gothic architecture with the art of icons have now in Poland their magnificent continuation in the stained-glass icons. And it needs to be clearly underlined that this bold encounter of the art born in between the East and West, in between the expressionist and cubistic tradition and the canon of icons, in between the Western Gothic architecture and the liturgical-spatial structure of the Eastern temple, fits perfectly well in Orthodox and Catholic churches alike. Mutual exchange of value occurs here – as in the past – both ways. This paper presents selected examples of interaction between Christian iconography and theology in contemporary orthodox and roman-catholic sacred architecture built after World War II period in Poland. It shows the process of evolution of traditional iconography conventions. It covers problems in art as well as new essential ideological aspects of symbolical and liturgical nature.
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