The liturgical hall

The liturgical hall bears resemblance to the oldest ones still existing today, particularly those of the Syriac rite, albeit with a slight difference in the arrangement of seating. The seat, altar, and ambo are organized in a more distinct manner. The directives of Vatican II enable this approach, urging us to draw inspiration from the early church and rediscover the essence of the nascent liturgy. Consequently, it becomes evident that the Word proclaimed from the ambo is no longer perceived as individual but is heard collectively, as we are integrated into the body of Christ and already united with Him. We listen to the Word as it is embodied in Christ and fully realized.

This space facilitates a profound liturgical experience, highlighting the essential connection between listening to the Word and encountering the incarnate Word. It emphasizes the inseparable link between our interaction with God and our relationship with others, recognizing that since God became human, our service to God is inherently intertwined with our service to humanity.

The liturgical hall immediately immerses us in community, portraying us as the body of Christ and emphasizing the humanity of Christ in action, progressively unfolding towards the eschaton. In this context, each individual present becomes an integral part of this manifestation of the Word in humanity, contributing to the realization of Christ's mission through our own humanity.

In the chapel, pews replace individual chairs, symbolizing a shift from individual focus to communal engagement. Historically, in the Latin Church, pews were introduced instead of chairs when seating was made available. This choice reflects an emphasis on communal worship and interconnectedness within the congregation.

Baptism signifies a transformative experience where the individual undergoes a symbolic death and rebirth, emerging as a person in communion with the Holy Spirit. The Latin phrase "Tu es ergo sum" ("You are, therefore I am") encapsulates the essence of personhood, emphasizing relational existence rather than mere individuality. A person transcends self-interest and wounded nature, expressing themselves through self-giving and interconnectedness with others.

The Language

Painting, even in mosaic form, plays an essential role in conveying the essence of the liturgy. In the artwork, there is a deliberate absence of realism or idealism, mirroring the simplicity of the liturgical experience.

The art of the liturgy must be essential, much like the liturgy itself, to demonstrate that fulfillment comes not from our actions alone but through the descent of the Holy Spirit, fulfilling the Father's plan. Just as placing bread on the altar is not enough without the presence of the Holy Spirit, so too is our participation in the liturgy incomplete without the Spirit's transformative presence.

In the painting behind the ambo, simplicity reigns supreme, with minimal detail on the faces and the use of color in an off-screen manner. This technique, akin to Maximus the Confessor's dogmatic synthesis, reflects the underlying code of creation imbued by the Word, suggesting that the entire world seeks to partake in the communion of persons and the love shared within the Church.

The interplay of matter, geometry, and artistic expression illustrates how all creation converges toward embodying the likeness of Christ, with the Church serving as the manifestation of Christ's face to the world. Thus, the artwork symbolizes the universal desire for communion and the transformative power of the liturgy to bring about unity and fulfillment.

Apse - Crucifixion

In the apse, traditionally considered the womb of God the Father, a scene is depicted that symbolizes the vertical axis of creation—representing the Father from whom all things originate and to whom all things return. The concave shape of the apse signifies its welcoming nature, reflecting the Father's act of giving, emptying, and receiving.

The Crucifixion, a scene traditionally avoided in the apse for thirteen centuries, is portrayed here. Christ, depicted as the priest, signifies the sacrifice that reconciles humanity with the Father. Above Christ's outstretched arms, the hand of the Father is depicted, symbolizing the union of humanity with the Father through Christ's sacrifice. The Crucifixion scene resembles the one at the gate of Jerusalem, but here it represents the heavenly Jerusalem descending from above.

Mary, enveloped in Christ's mantle, symbolizes the Church and its unity with Christ. This imagery reflects Paul's teaching in Ephesians 5 about the profound mystery of the union between Christ and the Church. Mary gathers the blood flowing from Christ's side, signifying the lifeblood of the Church. Just as our earthly parents gave us life through their blood, we now live through the blood of Christ, which unites us with him and sustains us.

On the right side of the apse, John is depicted with his gospel, pointing upward to the Father. His gospel emphasizes the concept of sonship and encourages believers to abide in Christ's love. John's writings also speak of the new heavens and the new earth being embodied in the body of Christ, reinforcing the unity between Christ and his Church.

Indeed, Christ represents the new dwelling place of humanity, the embodiment of the new creation and the new heavens. As the risen Christ, he offers redemption and the possibility for humanity to live anew. In Revelation chapters 21 and 22, John articulates this vision of the new creation, having witnessed the heavenly reality before Jerusalem. He points to the profound mystery of the relationship between the Father and the Son, emphasizing that the only firm and sure axis is the bond between Father and Son. This relationship serves as the foundation upon which all creation rests and finds its ultimate fulfillment.

Annunciation

The depiction of the Annunciation on the wall behind the painted ambo embodies a profound understanding of light and symbolism. In the gospel, it is stated that "Life was light," signifying an inner illumination. For centuries, Christian art emphasized light emanating from within, reflecting a liturgical principle. However, a shift occurred over time, with light being placed externally, leading to a focus on details rather than the essential message.

In this painting, only the essential elements are visible, with no intricate details on the faces. Colors are used in an "off-screen" manner, conveying a sense of transparency rather than materiality. This approach allows the figures to transcend mere physicality and become vehicles for deeper spiritual meaning.

Mary's posture at the Annunciation reflects her initial lack of understanding, as described in Luke's gospel. However, her will remained free from sin, allowing her to gradually comprehend the divine message. Mary's journey from confusion to understanding is depicted with simplicity and essentiality, reflecting her gradual assimilation of the truth.

Overall, the simplicity and essentiality of the painting capture the profound spiritual truths embodied in the Annunciation, inviting contemplation and reflection rather than mere observation of details.

Pentecost

The depiction of Pentecost on the left wall represents the first birth of humanity into communion. Prior to this event, humanity, marred by sin, did not fully grasp the concept of communion. It is only when Christ imparts his breath that humanity begins to breathe in the life of the Spirit. This is symbolized by Christ's outstretched arms in the Crucifixion, which extend wider than his height, signifying his position at the right hand of the Father—a position of power and authority.

At Pentecost, the community of apostles is depicted, with each person looking in different directions. This signifies the pluralistic dynamism that emerges when communion becomes a reality in human life. As humanity is regenerated, individuals begin to share in the same life as God—a Trinitarian communion embodied by the person of the Holy Spirit. This communion is characterized by free unity, where individuals are empowered for mission and mutual support.

In the center of the image is the Cosmos King, drawing from ancient tradition and symbolizing the liberation of the cosmos from sin. Just as the children of God are manifested, the entire universe will also be set free from the grip of sin. The broken chains around the Cosmos King represent this liberation, with elements of creation surrounding him symbolizing the sacraments. These sacraments reveal the truth of the cosmos, demonstrating how matter, often perceived as problematic or associated with death, is transformed and sanctified through the sacramental life. Ultimately, salvation encompasses both humanity and the earth, and it is through communion with the earth that humanity finds redemption and restoration.

The depiction of the apostles in the Pentecost scene is rich with symbolism, each holding an element that represents a sacramental aspect of the Church.

- One apostle holds water, symbolizing baptism, the sacrament through which individuals are initiated into the Church and cleansed of sin.
- John is portrayed with wine, representing the Eucharist, the sacrament in which believers partake of Christ's body and blood, signifying unity with Christ and the Church.
- Another apostle is depicted with bread, further emphasizing the Eucharistic aspect of the Church, where believers are nourished spiritually through communion.
- Oil is held by another apostle, symbolizing the sacrament of anointing of the sick, where believers receive spiritual healing and strength.
- Paul is shown with his letters, representing his epistles, which form an integral part of the Church's teaching and guidance.

Each element held by the apostles serves as a reminder of the sacramental life of the Church, where creation is liberated and transformed, ultimately finding its place in the heavenly Jerusalem as part of the body of Christ. Through the sacraments, the matter of the world is sanctified and becomes a part of the Church, participating in its mission of redemption and restoration.

The focal point in this depiction is the offering of bread, which symbolizes the transformation into the body of Christ during the Eucharistic celebration. This offering originates from us, the Church, as articulated by St. John Chrysostom. When the bread is brought to the altar, it signifies the Church's movement from the nave to the altar, as it is our offering, our very lives.

This offering comprises both the matter of the world and the labor of humanity, highlighting the spiritual significance of work—a concept often overlooked. When our work, combined with the fruits of the earth, becomes the body of Christ—the food of eternal life and the drink of salvation—it is truly extraordinary.

During the Eucharistic prayer, when the priest elevates the bread and wine and utters the words "For Christ, with Christ, and in Christ," the entire body of Christ is manifested in a priestly gesture that transcends time and space. It is a moment where all believers, from all times, converge as one body before God the Father.

This unity with the whole body of Christ is emphasized further as the Our Father prayer is recited immediately after, symbolizing the classical axis of the early Church and the interconnectedness of salvation history with the history of the Church—a narrative rich with significance and depth.

Dream of Don Bosco

The depiction of Don Bosco's dream on the right wall captures a profound encounter between Don Bosco and the Lord speaking to him. Don Bosco is portrayed directing his gaze towards the ambo, where the Lord's voice emanates, while gesturing towards fulfillment, symbolizing his obedience and alignment with the divine message.

In the dream, Don Bosco is shown leading sheep, symbolizing individuals from a fallen world where humanity has succumbed to base instincts, as described by Basil the Great in the Exameron. However, in this transformative moment, these same beasts are turned into sheep, signifying the redemptive power of divine grace.

The imagery also reflects the Eucharistic symbolism of bread originating from the earth and becoming the Lamb of God. Just as the bread is transformed into the Lamb, believers are transformed by partaking in the Eucharistic meal, wherein they encounter the presence of Christ and are spiritually nourished.

Regarding the depiction of Don Bosco, it is notable that the traditional form of the saint, such as in photographs, is transcended in favor of a portrayal that emphasizes his likeness to Christ. This transformation underscores the saint's holiness and alignment with Christ's image. The deliberate widening of the neck in the depiction emphasizes Don Bosco's role as the conduit of the Spirit, highlighting his bestowal of spiritual gifts upon his followers.

In summary, the depiction of Don Bosco's dream and portrayal emphasizes the transformative power of divine grace, the Eucharistic symbolism of redemption, and the saint's likeness to Christ as the giver of the Spirit.

Tabernacle

The placement of the tabernacle outside the sanctuary area, on a separate plank, is a deliberate choice to avoid turning one's back on the Eucharist during liturgical celebrations. This ensures that there is no confusion between the reserved Eucharist and the Eucharist being celebrated.

On the door of the tabernacle, there is an image depicting the Church, symbolized by the miraculous catch of fish by Peter. This scene illustrates the unity of the three dimensions of the body: the body of Christ, the body of Christ as the Church, and the body of Christ in the Eucharist. These dimensions are inseparable, forming one unified body.

The image is depicted in black to symbolize the encounter with Christ amidst evil and sin. Throughout the Bible, significant salvific events often occur in the night, highlighting the theme of encountering God in darkness. From Moses leading the Israelites out of Egypt to the birth, betrayal, death, and resurrection of Christ, these pivotal moments occur in the darkness of night. Thus, black represents the backdrop against which we encounter and recognize God as our savior.

In summary, the image on the tabernacle door serves as a reminder of the unity of the Church and the Eucharist, while the color black symbolizes our encounter with God in the midst of darkness and sin, leading to redemption and salvation.

Altar

The square shape of the altar, as noted by Germanus of Constantinople, symbolizes the universality of the sacrifice of Christ, which extends to all four corners of the earth. The altar serves as both a table and an altar, representing the sacrifice of the Father offering the Son. It is always Christ present on the altar, and it also symbolizes the heavenly Jerusalem and the throne of God.

In the liturgical structure, the altar is understood as an extension of Christ's body. In the Byzantine rite, during the ordination of a priest, the bishop places his head on the altar with his ear, symbolizing the importance of listening to the Church, which is the body of Christ.

The corporeity of Christ extends throughout the entire space of the Church, with iconography serving to reinforce this concept. The walls of the Church are seen as a self-portrait of the Church, and believers become part of it through death and rebirth, symbolized by baptism. In this understanding, nothing can enter the Church except through death, even the flowers, which historically entered as incense, symbolizing their transformation and renewal by the Spirit.

Ambo

The choice of a pillar version for the ambo is significant, as it symbolizes the rock upon which the angel sat when announcing the resurrection to the women. This rock also echoes the pillar that guided Israel during the exodus. Thus, the ambo serves as a focal point from which the Word is proclaimed, already realized and incarnate. Surrounding the ambo is the body of Christ, representing the gathered community.

The symbolism of the ambo underscores the intimate connection between the proclamation of the Word and the presence of Christ among the faithful. As believers, we are grafted into Christ and are therefore part of his body. Thus, the ambo serves as a sacred space where the Word of God is heard and where the body of Christ gathers to receive spiritual nourishment and guidance.

Sanctuary

The liturgical hall, comprising the chair, altar, and ambo, forms the central space where the liturgy unfolds. The seat of the president, akin to the chair, holds significance as the bishop presides over the community while awaiting the Erhomenos, or the coming one. In the context of the liturgy shaping the Church, the role of the president is indispensable.

As the bishop presides over the community, the president plays a crucial role in guiding and facilitating the liturgical proceedings. Their presence symbolizes the authority and leadership within the Church, ensuring the orderly celebration of the liturgy and the spiritual nourishment of the faithful. Thus, the president's role is integral to the cohesion and effectiveness of the liturgical assembly, fostering unity and reverence among the worshippers.

Stained glass windows

The stained glass windows here filter light to create an internal ambiance for encountering the sacrament, rather than showcasing the outside world. The transformed golden-toned light contributes to the sacred atmosphere, fostering a deeper connection to spiritual realities within the liturgical space.

Lamps

The lamps, including those on the altar and near the Blessed Sacrament, are reminiscent of ancient crypts where ostrich eggs filled with wax were used for illumination due to their size and insect-repelling properties. Shaped like eggs, these lamps symbolize the resurrection of Christ, who is the eternal light. Inside the broken eggs, wax provides indirect light, while only the two lamps illuminating the liturgical poles offer direct light. This indirect lighting signifies that although we do not see the risen Christ directly, His light enables us to see the world correctly.