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1

Wspomnienie Matki Boskiej i świętych w Anaforach wschodnich

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Paprocki H.

ELPIS

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2011

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tom 13

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nr 23-24

251-266

EN

In his article the Author analyze the role of saints and the Mother of God in intercession for various anaphora. Then he poses the thesis that the evolution of this part of liturgies is passed as follows: in the oldest anaphora does not commemorations of saints, later we find the commemoration of the various classes of saints, and finally the commemoration of the Mother of God and the saints in ways difference.

2

Śpiewając z aniołami. Podstawy teologii muzyki sakralnej w prawosławiu

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Paprocki H. , Karcz B. , Tyrała R. , Zając A. , Delimat W. , Janicki J. J. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W. , Karcz B. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W.

Pro Musica Sacra

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2015

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tom 13

EN

The author’s reflections on the theology of sacred music in Orthodoxy commences with the fact that the entire Liturgy is precisely outlined in the book known as the Typikon, which is at the same time a scenario and score of the service. The Typikon introduces order in the elements of prayer and also places an emphasis on beauty. For this reason, concepts such as artistry, artist, art and creativity play such an important role in the thought of the Church Fathers. The essence of this music is fundamentally an unceasing pursuit of the heavenly archetype, in order to attain unity between the divine realm and the human world. Liturgical music is therefore one of the ways of overcoming the fallen state and recovering the unity lost. The theory of church singing originates in Byzantium and influenced the formation of the Byzantine musical form, which delighted Prince Vladimir’s representatives in Constantinople. The beauty of the Greek Liturgy has become one of the criterions of authenticity of faith. The fascination with the beauty of the Liturgy is not an esthetic evaluation, but is a desire to grasp the essence of God through beauty. The Byzantine concept has been heavily influenced by the idea of the divine pattern, which was given to people by God by the angels or saints. This principle applies to all types of art including music. According to tradition, the well-known Byzantine hymnographer, poet and musician St. Roman the Melodist received the gift of arranging kontaktions and chants in a vision. The Mother of God appeared to him in a church and gave him a scroll with the instructions to consume it. After waking up, Roman the Melodist sang “Today the Virgin Gives Birth.” As a result, his creativity is the fruit of a gift received from God. Moreover, comparing church chants with the heavenly (from the 8th century, choir) is expressed in liturgical hymns, which tell of human voices blending with the songs of the Cherubim, thus creating a choir proclaiming the glory of God as “an icon in sound.” Liturgical chant contrasts itself with folklore songs. Church singers represented the angels, and for this reason, the name “choir” makes reference to the concept of the nine choirs of angels. Liturgical chant should sound solemnly, heavenly, and should be dematerialized (complemented by church architecture, giving the effect of poured out sounds rising to the dome of the church and returning as celestial and heavenly chant).

PL

Rozważania na temat teologii muzyki sakralnej w prawosławiu autor zaczyna od przypomnienia faktu, że cała liturgia jest precyzyjnie opisana w księdze zwanej Typikon, która jest zarazem scenariuszem i partyturą nabożeństwa. Typikon wprowadza uporządkowanie w żywioł modlitwy, równocześnie kładąc nacisk na piękno. Dlatego też takie pojęcia, jak artyzm, artysta, sztuka, twórczość, zajmują ważne miejsce w myśli Ojców Kościoła. Istota tej muzyki sprowadza się do nieustannego dążenia do niebiańskiego archetypu celem osiągnięcia jedności świata Boskiego i świata ludzi. Muzyka liturgiczna jest więc jednym ze sposobów przezwyciężenia stanu upadku i przywracania utraconej jedności. Teoria śpiewu cerkiewnego zrodziła się w Bizancjum i oddziałała na ukształtowanie się bizantyjskiego wzorca muzycznego, który tak zachwycił posłów księcia Włodzimierza w Konstantynopolu. Piękno liturgii greckiej stało się jednym z kryteriów prawdziwości wiary. Zachwyt wobec piękna liturgii nie jest estetyczną oceną, ale chęcią osiągnięcia istoty Boga poprzez piękno. Na koncepcję bizantyjską ogromny wpływ wywarła idea wzorca Boskiego, który został przekazany ludziom od Boga przez aniołów lub świętych. Ta zasada odnosiła się do wszystkich rodzajów sztuki, w tym także muzyki. Zgodnie z tradycją znany bizantyjski hymnograf, poeta i muzyk św. Roman Melodos otrzymał w sennej wizji dar układania kontakionów i śpiewania. W świątyni objawiła mu się Bogurodzica, dała zwój i poleciła go spożyć. Po przebudzeniu się Roman Melodos zaśpiewał „Dziewica dziś rodzi”. Dlatego też jego twórczość jest owocem daru otrzymanego od Boga. Z kolei porównanie śpiewu cerkiewnego z niebieskim (od VIII wieku chóru) znalazło swój wyraz w hymnach liturgicznych, które mówią, że ludzkie głosy mieszają się ze śpiewem cherubinów, tworząc chór głoszący chwałę Boga jako „ikona w dźwiękach”. Śpiew liturgiczny przeciwstawia się śpiewowi ludowemu, folklorowi. Śpiewacy cerkiewni przedstawiali aniołów i dlatego sama nazwa „chór” nawiązuje do koncepcji dziewięciu chórów anielskich. Śpiew liturgiczny powinien brzmieć podniośle, niebiańsko, powinien być zdematerializowany (czemu sprzyjała architektura cerkwi, dająca efekt lotu dźwięków zlewających się w kopule i powracających stamtąd jak nieziemski, niebiański śpiew).

3

Zarys prawosławnej nauki o Duchu Świętym

100%

Paprocki H.

ELPIS

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2012

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tom 14

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nr 25-26

11-39

EN

The role of the Holy Spirit is much more in the centre of spirituality of the Eastern Church than is the case in the Western Church. Nevertheless, to say that Orthodox thought has finally and fully developed systematic theology of the Holy Spirit, would be excessive. The science of the Holy Spirit is based primarily on the experience of the community (liturgy) and on individual experience (personal prayer). It is these two aspects that the article is devoted to. At the same time it attempts to present Orthodox Church’s teaching of the Holy Spirit not only on the basis of dogmatic formulation, but principally through the experience of the mystics, which found resonance in the practice and theory of hesychasm. Especially helpful in this approach is the Orthodox liturgy, rich in inexhaustible theological perspective. Hesychia is also linked to the contemplation of icons. The combination of these different threads leads to deep spiritual experiences. However, it was the Church where a clear revelation of the Holy Spirit succeeded, which is particularly emphasized by St. Gregory of Nazianzus, the Theologian: “The Old Testament proclaimed the Father clearly, but the Son more obscurely. The New Testament revealed the Son and gave us a glimpse of the divinity of the Spirit. Now the Spirit dwells among us and grants us a clearer vision of himself”.

4

Związki pomiędzy ikoną, teologią i liturgią

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Paprocki H.

ELPIS

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2011

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tom 13

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nr 23-24

39-58

EN

Contribution is devoted to the issue of the icon and his spot in the worship of the Church and its aspects, which is linked with the Greek word eikon, which marks all of the two statues and the Emperor, and table Christian worship them. The image in this event each event represent another reality. This word means and the image of God in man and Christ as the image of the Father. Majority report of the meaning of the icon to take a reality stain and understanding the role and place of the icon in the Church. In this context the author approach the relationship between the icon and theology and liturgy.

5

Neopatrystyczna synteza prawosławna na przykładzie Paula Evdokimova

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Paprocki H.

Vox Patrum

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1986

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tom 10

257-266

FR

L’auteur dans la premiere partie de cette article analise les problemes de la chronologie des periodes patristique en l’Orient et ensuite caracterise la pensee de Paul Evdokimov.

6

Obrzędy sakramentu małżeństwa według tradycji Kościoła bizantyńskiego

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Paprocki H.

Vox Patrum

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1985

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tom 8

345-363

EN

translation

PL

tłumaczenie

7

Kanoniczna i liturgiczna strona małżeństwa na chrześcijańskim wschodzie w I tysiącleciu

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Paprocki H.

Vox Patrum

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1985

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tom 8

311-319

FR

Cet article est consacre a la problematique de sacrement du mariage dans l’Eglise byzantine surtout sur les questions liturgiques et canoniques

8

Kanony wschodniego Kościoła starożytnego dotyczące małżeństwa i rodziny

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Paprocki H.

Vox Patrum

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1985

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tom 8

321-343

EN

translation

PL

tłumaczenie

9

Świecenia diakonisy w Kościele bizantyńskim

100%

Paprocki H.

Vox Patrum

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1984

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tom 6

272-280

FR

Cet article est consacre a la problematique de l'ordination des diaconesses, surtout sur la base des documentes liturgiques.

10

Bibliografia publikacji Prof. Witolda Klingera (1875-1962)

100%

Paprocki H.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2015

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tom 25

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nr 2

162-200

PL

Bibliografia publikacji Prof. Witolda Klingera (1875-1962) - opracował Henryk Paprocki

11

Stosunek religii do nauki. Punkt widzenia prawosławnego

100%

Paprocki H.

Polonia Sacra

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2013

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tom 17

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nr 2

EN

Polish astronomer Konrad Rudnicki suggested that the so-called Copernican revolution, with far-reaching consequences for western Christianity, was hardly noticed in orthodoxy. In this case, the domain of discoveries and scientific truths remained distinct from the strictly theological domain. The Earth was treated as a mystical centre of the universe because of the Incarnation of Christ, which did not mean that it was also the real centre of the empirical universe. However, Copernicus’s discovery led to a rapidly progressive process of the western Church distancing itself from science. On the other hand, discoveries and scientific theories can in no case be contrary to the principles of faith, because we are dealing here with two different cognitive methods. It is the point of destination of both methods that should be the same.As regards culture, we need to consider the fascinating relation of the Latin words cultus and cultura, which points to the fact that culture developed originally within the cult, and it was there where its source was (Fr. Paul Florenski). The real culture (and thus literature and art) must always have a dimension reaching beyond time. In this respect, every authentic work of art has a sacred character in the sense of a deep inner connection with everything that is transcendent.When it comes to the connection between religion and science, the situation is even more evident, as God commands in the Bible: „Fill the Earth and subdue it” (Genesis 1:28), which requires education, because without it, it is impossible to master the earth.The contradiction between science and culture on one side and religion on the other is something superficial and, indeed, must not be present, if we understand properly the role of all these areas in their mutual relations.

PL

Polish astronomer Konrad Rudnicki suggested that the so-called Copernican revolution, with far-reaching consequences for western Christianity, was hardly noticed in orthodoxy. In this case, the domain of discoveries and scientific truths remained distinct from the strictly theological domain. The Earth was treated as a mystical centre of the universe because of the Incarnation of Christ, which did not mean that it was also the real centre of the empirical universe. However, Copernicus’s discovery led to a rapidly progressive process of the western Church distancing itself from science. On the other hand, discoveries and scientific theories can in no case be contrary to the principles of faith, because we are dealing here with two different cognitive methods. It is the point of destination of both methods that should be the same.As regards culture, we need to consider the fascinating relation of the Latin words cultus and cultura, which points to the fact that culture developed originally within the cult, and it was there where its source was (Fr. Paul Florenski). The real culture (and thus literature and art) must always have a dimension reaching beyond time. In this respect, every authentic work of art has a sacred character in the sense of a deep inner connection with everything that is transcendent.When it comes to the connection between religion and science, the situation is even more evident, as God commands in the Bible: „Fill the Earth and subdue it” (Genesis 1:28), which requires education, because without it, it is impossible to master the earth.The contradiction between science and culture on one side and religion on the other is something superficial and, indeed, must not be present, if we understand properly the role of all these areas in their mutual relations.

12

Modlitwy odmawiane przed amboną

100%

Paprocki H.

ELPIS

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2012

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tom 14

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nr 25-26

195-215

EN

One of the characteristics of the Byzantine liturgy is the last prayer called “The Prayer Behind the Ambo”. According to the Venetian edition of the Liturgikon, it is recited by the faithful in front of the pulpit or the ambo (hence the name), or before the icon of Christ on the iconostasis according to the Jerusalem edition. This prayer is a remnant of an old ceremony where the priest came out to bless the faithful by the laying on of hands, which is still practised during the priest’s first mass in the Roman Catholic Church. The prayer continues being recited also by the newly ordained priests in the Orthodox Church. In the 10th century Codex Porphyrios there are 28 such prayers. Of the 162 manuscripts described by A. Dmitriyevsky only eight contain them, with one manuscript coming from the sixteenth-seventeenth century, which shows that these prayers were also used in later times, but not everywhere and not in the same range. Currently, there is a tendency to restore the prayers recited before the pulpit because of their didactic nature, closely associated with a particular holiday. These prayers have been restored in the Greek Church and in various U.S. jurisdictions. The article is accompanied by a translation of current prayers behind the ambo, as well as other prayers of this type, intended for various holidays and days of the liturgical year.