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Nineteen bishops from North, Central, and South America concelebrated the Mass in Guatemala City one day before the first anniversary of Bishop Gerardi's murder. Investigators have focused on a priest living with Bishop Gerardi at the time as the primary suspect, although Catholic leaders and human rights group said the connection to the civil war report has been ignored.
Following the Mass, thousands of Guatemalans gathered in a local park to protest the slow progress of the investigation. President Alvaro Arzu issued a statement on Sunday detailing his desire to resolve the case and how he aims to accomplish that resolution. He also urged Guatemalans to resist propaganda by anyone trying to use the murder to prevent reconciliation.
The ZENIT International News Agency reported that On Thursday, April 22, John Paul II received in audience the president of Guatemala, Alvaro Arzú, , just four days before the first anniversary of the death of Guatemalan Bishop Juan Gerardi, a champion of human rights in that Central American country.
Following his audience with the Pope, president Arzú met Cardinal Angelo Sodano, Vatican Secretary of State. According to Joaquin Navarro-Valls, the Holy See's spokesman, during the two meetings there was a review of the process of reconciliation underway in Guatemala, which has the energetic support of the bishops.
A second topic of discussion was the relations between Church and State in Guatemala. The Pope pointed out the urgent need to clarify the murder of Bishop Gerardi. Investigations on the case are virtually paralyzed, reflecting the deficiencies of the judicial system of the country.
On the eve of the president's meeting with the Pope, Archbishop Prospero Penados of Guatemala said the Holy Father receives daily bulletins on events in Guatemala, including the Gerardi case. He is also aware of the macabre threats to the life of Ronalth Ochaeta, who is in charge of the Archdiocese's Office of Human Rights.
In statements to the press, Bishop Rios Montt, Gerardi's successor, said that military intelligence invented the accusations which led to Father Mario Orantes' imprisonment for several months without any proofs whatsoever. "This rumor was launched to derail the investigations ... and prevent the clarification of the crime."
According to Bishop Montt, the most difficult problem in the Gerardi case is the lack of independence of the judges, because they are under the control of a "parallel power."
Archbishop Penados announced that some 50,000 faithful and religious leaders from all over the world will meet to commemorate the anniversary of Bishop Gerardi's murder. ZE99042210
In the West, artists start from the most varied viewpoints, depending also on the underlying convictions of the cultural world of their time. The artistic heritage built up over the centuries includes a vast array of sacred works of great inspiration, which still today leave the observer full of admiration. In the first place, there are the great buildings for worship, in which the functional is always wedded to the creative impulse inspired by a sense of the beautiful and an intuition of the mystery. From here came the various styles well known in the history of art. The strength and simplicity of the Romanesque, expressed in cathedrals and abbeys, slowly evolved into the soaring splendours of the Gothic.
These forms portray not only the genius of an artist but the soul of a people. In the play of light and shadow, in forms at times massive, at times delicate, structural considerations certainly come into play, but so too do the tensions peculiar to the experience of God, the mystery both "awesome" and "alluring". How is one to summarize with a few brief references to each of the many different art forms, the creative power of the centuries of the Christian Middle Ages? An entire culture, albeit with the inescapable limits of all that is human, had become imbued with the Gospel; and where theology produced the Summa of Saint Thomas, church art moulded matter in a way which led to adoration of the mystery, and a wonderful poet like Dante Alighieri could compose "the sacred poem, to which both heaven and earth have turned their hand",(15) as he himself described the Divine Comedy.
Humanism and the Renaissance
9. The favourable cultural climate that produced the
extraordinary artistic flowering of Humanism and the
Renaissance also had a significant impact on the way in
which the artists of the period approached the religious
theme. Naturally, their inspiration, like their style, varied
greatly, at least among the best of them. But I do not intend
to repeat things which you, as artists, know well. Writing
from this Apostolic Palace, which is a mine of masterpieces
perhaps unique in the world, I would rather give voice to the
supreme artists who in this place lavished the wealth of
their genius, often charged with great spiritual depth. From
here can be heard the voice of Michelangelo who in the
Sistine Chapel has presented the drama and mystery of the
world from the Creation to the Last Judgement, giving a face
to God the Father, to Christ the Judge, and to man on his
arduous journey from the dawn to the consummation of
history. Here speaks the delicate and profound genius of
Raphael, highlighting in the array of his paintings, and
especially in the "Dispute" in the Room of the Signatura, the
mystery of the revelation of the Triune God, who in the
Eucharist befriends man and sheds light on the questions
and expectations of human intelligence. From this place,
from the majestic Basilica dedicated to the Prince of the
Apostles, from the Colonnade which spreads out from it like
two arms open to welcome the whole human family, we still
hear Bramante, Bernini, Borromini, Maderno, to name only
the more important artists, all rendering visible the perception
of the mystery which makes of the Church a universally
hospitable community, mother and travelling companion to all
men and women in their search for God.
This extraordinary complex is a remarkably powerful expression of sacred art, rising to heights of imperishable aesthetic and religious excellence. What has characterized sacred art more and more, under the impulse of Humanism and the Renaissance, and then of successive cultural and scientific trends, is a growing interest in everything human, in the world, and in the reality of history. In itself, such a concern is not at all a danger for Christian faith, centred on the mystery of the Incarnation and therefore on God's valuing of the human being. The great artists mentioned above are a demonstration of this. Suffice it to think of the way in which Michelangelo represents the beauty of the human body in his painting and sculpture.(16)
Even in the changed climate of more recent centuries, when a part of society seems to have become indifferent to faith, religious art has continued on its way. This can be more widely appreciated if we look beyond the figurative arts to the great development of sacred music through this same period, either composed for the liturgy or simply treating religious themes. Apart from the many artists who made sacred music their chief concern-how can we forget Pier Luigi da Palestrina, Orlando di Lasso, Tomás Luis de Victoria?-it is also true that many of the great composers-from Handel to Bach, from Mozart to Schubert, from Beethoven to Berlioz, from Liszt to Verdi-have given us works of the highest inspiration in this field.
Towards a renewed dialogue
10. It is true nevertheless that, in the modern era, alongside
this Christian humanism which has continued to produce
important works of culture and art, another kind of
humanism, marked by the absence of God and often by
opposition to God, has gradually asserted itself. Such an
atmosphere has sometimes led to a separation of the world
of art and the world of faith, at least in the sense that many
artists have a diminished interest in religious themes.
You know, however, that the Church has not ceased to nurture great appreciation for the value of art as such. Even beyond its typically religious expressions, true art has a close affinity with the world of faith, so that, even in situations where culture and the Church are far apart, art remains a kind of bridge to religious experience. In so far as it seeks the beautiful, fruit of an imagination which rises above the everyday, art is by its nature a kind of appeal to the mystery. Even when they explore the darkest depths of the soul or the most unsettling aspects of evil, artists give voice in a way to the universal desire for redemption.
It is clear, therefore, why the Church is especially concerned for the dialogue with art and is keen that in our own time there be a new alliance with artists, as called for by my revered predecessor Paul VI in his vibrant speech to artists during a special meeting he had with them in the Sistine Chapel on 7 May 1964.(17) From such cooperation the Church hopes for a renewed "epiphany" of beauty in our time and apt responses to the particular needs of the Christian community.
In the spirit of the Second Vatican Council
11. The Second Vatican Council laid the foundation for a
renewed relationship between the Church and culture, with
immediate implications for the world of art. This is a
relationship offered in friendship, openness and dialogue. In
the Pastoral Constitution Gaudium et Spes, the Fathers of
the Council stressed "the great importance" of literature and
the arts in human life: "They seek to probe the true nature of
man, his problems and experiences, as he strives to know
and perfect himself and the world, to discover his place in
history and the universe, to portray his miseries and joys,
his needs and strengths, with a view to a better future".(18)
On this basis, at the end of the Council the Fathers
addressed a greeting and an appeal to artists: "This
world-they said-in which we live needs beauty in order not
to sink into despair. Beauty, like truth, brings joy to the
human heart and is that precious fruit which resists the
erosion of time, which unites generations and enables them
to be one in admiration!".(19) In this spirit of profound
respect for beauty, the Constitution on the Sacred Liturgy
Sacrosanctum Concilium recalled the historic friendliness of
the Church towards art and, referring more specifically to
sacred art, the "summit" of religious art, did not hesitate to
consider artists as having "a noble ministry" when their
works reflect in some way the infinite beauty of God and
raise people's minds to him.(20) Thanks also to the help of
artists "the knowledge of God can be better revealed and
the preaching of the Gospel can become clearer to the
human mind".(21) In this light, it comes as no surprise when
Father Marie Dominique Chenu claims that the work of the
historian of theology would be incomplete if he failed to give
due attention to works of art, both literary and figurative,
which are in their own way "not only aesthetic
representations, but genuine 'sources' of theology".(22)
The Church needs art
12. In order to communicate the message entrusted to her
by Christ, the Church needs art. Art must make perceptible,
and as far as possible attractive, the world of the spirit, of
the invisible, of God. It must therefore translate into
meaningful terms that which is in itself ineffable. Art has a
unique capacity to take one or other facet of the message
and translate it into colours, shapes and sounds which
nourish the intuition of those who look or listen. It does so
without emptying the message itself of its transcendent
value and its aura of mystery.
The Church has need especially of those who can do this on the literary and figurative level, using the endless possibilities of images and their symbolic force. Christ himself made extensive use of images in his preaching, fully in keeping with his willingness to become, in the Incarnation, the icon of the unseen God.
The Church also needs musicians. How many sacred works have been composed through the centuries by people deeply imbued with the sense of the mystery! The faith of countless believers has been nourished by melodies flowing from the hearts of other believers, either introduced into the liturgy or used as an aid to dignified worship. In song, faith is experienced as vibrant joy, love, and confident expectation of the saving intervention of God. The Church needs architects, because she needs spaces to bring the Christian people together and celebrate the mysteries of salvation. After the terrible destruction of the last World War and the growth of great cities, a new generation of architects showed themselves adept at responding to the exigencies of Christian worship, confirming that the religious theme can still inspire architectural design in our own day. Not infrequently these architects have constructed churches which are both places of prayer and true works of art.
Does art need the Church?
13. The Church therefore needs art. But can it also be said
that art needs the Church? The question may seem like a
provocation. Yet, rightly understood, it is both legitimate and
profound. Artists are constantly in search of the hidden
meaning of things, and their torment is to succeed in
expressing the world of the ineffable. How then can we fail
to see what a great source of inspiration is offered by that
kind of homeland of the soul that is religion? Is it not perhaps
within the realm of religion that the most vital personal
questions are posed, and answers both concrete and
definitive are sought?
In fact, the religious theme has been among those most frequently treated by artists in every age. The Church has always appealed to their creative powers in interpreting the Gospel message and discerning its precise application in the life of the Christian community. This partnership has been a source of mutual spiritual enrichment. Ultimately, it has been a great boon for an understanding of man, of the authentic image and truth of the person. The special bond between art and Christian revelation has also become evident. This does not mean that human genius has not found inspiration in other religious contexts. It is enough to recall the art of the ancient world, especially Greek and Roman art, or the art which still flourishes in the very ancient civilizations of the East. It remains true, however, that because of its central doctrine of the Incarnation of the Word of God, Christianity offers artists a horizon especially rich in inspiration. What an impoverishment it would be for art to abandon the inexhaustible mine of the Gospel!
An appeal to artists
14. With this Letter, I turn to you, the artists of the world, to
assure you of my esteem and to help consolidate a more
constructive partnership between art and the Church. Mine
is an invitation to rediscover the depth of the spiritual and
religious dimension which has been typical of art in its
noblest forms in every age. It is with this in mind that I appeal
to you, artists of the written and spoken word, of the
theatre and music, of the plastic arts and the most recent
technologies in the field of communication. I appeal
especially to you, Christian artists: I wish to remind each of
you that, beyond functional considerations, the close
alliance that has always existed between the Gospel and
art means that you are invited to use your creative intuition
to enter into the heart of the mystery of the Incarnate God
and at the same time into the mystery of man.
Human beings, in a certain sense, are unknown to themselves. Jesus Christ not only reveals God, but "fully reveals man to man".(23) In Christ, God has reconciled the world to himself. All believers are called to bear witness to this; but it is up to you, men and women who have given your lives to art, to declare with all the wealth of your ingenuity that in Christ the world is redeemed: the human person is redeemed, the human body is redeemed, and the whole creation which, according to Saint Paul, "awaits impatiently the revelation of the children of God" (Rom 8:19), is redeemed. The creation awaits the revelation of the children of God also through art and in art. This is your task. Humanity in every age, and even today, looks to works of art to shed light upon its path and its destiny.
The Creator Spirit and artistic inspiration
15. Often in the Church there resounds the invocation to the
Holy Spirit: Veni, Creator Spiritus... - "Come, O Creator Spirit,
visit our minds, fill with your grace the hearts you have
created".(24)
The Holy Spirit, "the Breath" (ruah), is the One referred to already in the Book of Genesis: "The earth was without form and void, and darkness was on the face of the deep; and the Spirit of God was moving over the face of the waters" (1:2). What affinity between the words "breath - breathing" and "inspiration"! The Spirit is the mysterious Artist of the universe. Looking to the Third Millennium, I would hope that all artists might receive in abundance the gift of that creative inspiration which is the starting-point of every true work of art.
Dear artists, you well know that there are many impulses which, either from within or from without, can inspire your talent. Every genuine inspiration, however, contains some tremor of that "breath" with which the Creator Spirit suffused the work of creation from the very beginning. Overseeing the mysterious laws governing the universe, the divine breath of the Creator Spirit reaches out to human genius and stirs its creative power. He touches it with a kind of inner illumination which brings together the sense of the good and the beautiful, and he awakens energies of mind and heart which enable it to conceive an idea and give it form in a work of art. It is right then to speak, even if only analogically, of "moments of grace", because the human being is able to experience in some way the Absolute who is utterly beyond.
The "Beauty" that saves
16. On the threshold of the Third Millennium, my hope for all
of you who are artists is that you will have an especially
intense experience of creative inspiration. May the beauty
which you pass on to generations still to come be such that
it will stir them to wonder! Faced with the sacredness of life
and of the human person, and before the marvels of the
universe, wonder is the only appropriate attitude.
From this wonder there can come that enthusiasm of which
Norwid spoke in the poem to which I referred earlier. People
of today and tomorrow need this enthusiasm if they are to
meet and master the crucial challenges which stand before
us. Thanks to this enthusiasm, humanity, every time it loses
its way, will be able to lift itself up and set out again on the
right path. In this sense it has been said with profound
insight that "beauty will save the world".(25)
Beauty is a key to the mystery and a call to transcendence. It is an invitation to savour life and to dream of the future. That is why the beauty of created things can never fully satisfy. It stirs that hidden nostalgia for God which a lover of beauty like Saint Augustine could express in incomparable terms: "Late have I loved you, beauty so old and so new: late have I loved you!".(26)
Artists of the world, may your many different paths all lead to that infinite Ocean of beauty where wonder becomes awe, exhilaration, unspeakable joy. May you be guided and inspired by the mystery of the Risen Christ, whom the Church in these days contemplates with joy. May the Blessed Virgin Mary be with you always: she is the "tota pulchra" portrayed by countless artists, whom Dante contemplates among the splendours of Paradise as "beauty that was joy in the eyes of all the other saints".(27) "From chaos there rises the world of the spirit". These words of Adam Mickiewicz, written at a time of great hardship for his Polish homeland,(28) prompt my hope for you: may your art help to affirm that true beauty which, as a glimmer of the Spirit of God, will transfigure matter, opening the human soul to the sense of the eternal. With my heartfelt good wishes! From the Vatican, 4 April 1999, Easter Sunday.
FOOTNOTES:
(14) La prospettiva rovesciata ed altri scritti, Rome 1984, p.
63.
(15) Paradiso XXV, 1-2.
(16) Cf. JOHN PAUL II, Homily at the Mass for the Conclusion of the Restoration of Michelangelo's Frescoes in the Sistine Chapel, 8 April 1994: Insegnamenti, XVII, 1 (1994), 899-904.
(17) Cf. AAS 56 (1964), 438-444.
(18) No. 62.
(19) Message to Artists, 8 December 1965: AAS 58 (1966), 13.
(20) Cf. No. 122.
(21) SECOND VATICAN ECUMENICAL COUNCIL, Pastoral Constitution Gaudium et Spes, 62.
(22) La teologia nel XII secolo, Milan 1992, p. 9.
(23) SECOND VATICAN ECUMENICAL COUNCIL, Pastoral Constitution on the Church in the Modern World Gaudium et Spes, 22.
(24) Hymn at Vespers on Pentecost.
(25) F. DOSTOYEVSKY, The Idiot, Part III, chap. 5.
(26) Sero te amavi! Pulchritudo tam antiqua et tam nova, sero te amavi!: Confessions, 10, 27: CCL 27, 251.
(27) Paradiso XXXI, 134-135.
(28) Oda do mlodosci, v. 69: Wybór poezji, Wroclaw 1986, vol. 1, p. 63.
