THOUGHTS ON THE LITURGICAL ARTS
You will see from viewing the galleries in this site that JPS has a large number of religious commissions contained in our portfolio. Churches place stained glass windows for a variety of reasons. Because of the way the glass interacts with the light entering the space, no other architectural element has the ability to influence the visual environment of a worship space as powerfully as stained glass. Stained glass windows help create a holy space.
Early in the history of church building, during the Gothic period, stained glass windows reached their zenith. Architects and builders quickly realized that glass could be placed into the openings to let in light but keep out the weather. Techniques were developed to allow for the creation of delicate Rose windows with stone traceries and towering aisle windows which were characteristic of this style of architecture. The glass was often colored, but since it was available only in small pieces, a system was developed to hold the pieces together with lead strips (lead came) - thus, leaded glass windows.
It was then discovered that the glass could also be painted, and if it was then heated to a high enough temperature, the paint became permanently affixed. The painting soon evolved into illustrations. These resulting beautiful windows became excellent places for telling stories. Thus, stained glass windows. The lessons of the Old and New Testaments were taught here since most of the worshipers could not read (not that they were especially encouraged to so, but this is a whole different story - part of the reason is that there were very few books around and eyeglasses had not been invented yet!)
Very few people who have visited any of the cathedrals of Germany, France or Italy or even the small parish churches of England and Ireland, (or the US!) can argue the Holiness of these spaces. This environment is primarily due to the architecture and the art placed within. Some of these churches took years, decades to build. Some are still incomplete. In many cases, tremendously large sums of money were spent for their construction. This was in a large part due to the devotion of those people and the love that they placed on their church and their liturgy.
When JPS receives a commission, we hope that the same commitment still exists within the committees with which we are working. It surely does with us. Today, the architectural styles are different, but hopefully the need, love and commitment that the congregation places on their worship space has not changed.
Surely, stained glass windows can still tell a story, but today the need for them to be so literal does not exist. A story which is told in well-designed, abstracted form can be of great value because viewers can become active participants in the story since they have to put some effort into understanding the meaning. Also, not all windows have to tell a story. Today we are educated - we read, watch television, movies, surf the internet - all of which are wonderful ways to gain tons of information - often, too much informations- so sometimes all stained glass needs to do is to just offer peace and beauty in our otherwise hectic environment. After all, it's impossible to filter all this information. We are innundated with it. It comes pouring in to us relentlessly from every direction, almost 24 hours a day. More than ever, we need a place where we can retreat, even if only for a short while. The church is one of those places of sanctuary, a place where one can enter to be alone with God or to be with the community of God's people.
Stained glass also has a functional purpose by eliminating an extreme glare situation from the sun, or a distracting view of the Wal-Mart, Home Depot, McDonalds signs and lights, just outside the church. And, it is difficult to focus on the religious activties taking place inside while are being distracted by people getting our of their cars in the parking.
At JPS, our underlying design philosophy for liturgical commissions focuses on two parameters - we have to be true to the liturgy and at the same time sensitive to the architecture. There is no set formula to attain these goals. Every church is different. Its architectural style, the geographic location of the church, its orientation on the site and with the surrounding community are just some of the physical considerations we have to take into account in designing windows. Plus, every selection sommittee is different (similar also!). We also have to consider the worshipers - the demographics of the congregation; are they old, young, or mixed?. What is their ethnicity? How are they accustomed to worshipping?
For Catholic churches we are especially sensitive to the guidelines of Vatican II relating to the environment and art of a worship space. This has implications for stained glass windows but even more so for the designing and placing of baptismal fonts, tabernacles, liturgical furnishings, appointments, statuary, Stations of the Cross and other items of liturgical art. In a letter from Pope John Paul, he emphasized the church's need for good art and artists - how integral it is in contributing to the mystery and awe of the liturgy.
It is a great honor anytime we are considered to do provide these things and areever aware the responsibiity it places on the owner/comittee, and the artist. Art must be true, plastic flowers and electric candles just don't do it.
JPS is committed to helping each and every congregation create a space that, when people enter, feel that they have entered a special and Holy Place. It is the reason we are here.
