The emergence of the Second Vatican Council in 1962 brought a lot of changes in the Catholic church, especially in the celebration of the Sacred liturgy. Obviously, these changes affects the rites, texts, music, the gestures and movement of the assembly.
The first paragraph of the Sacrosanctum Concilium says”
“The sacred Council has set out to impart an ever increasing vigor to the Christian life of the faithful; to adapt more closely to the needs of our age those institutions which are subject to change; to foster whatever can promote union among all who believe in Christ; to strengthen whatever can help to call all mankind into the Church’s fold. Accordingly, it sees particularly cogent reasons for undertaking the reform and promotion of the liturgy.” (SC No.1)
In effect, the full, conscious, and active participation demanded among the faithful, teaching in the seminaries, priests, in both secular and religious are the main instructions to promote liturgical reforms. (cf. SC 14-18).
Today, while active participation is continuously promoted and encouraged, adaptations of these were already on different countries especially in matters about culture. SC underscores to “carefully and prudently consider which elements from the traditions and cultures of individual peoples might appropriately be admitted into divine worship.” (SC 40.1)
The revision of the liturgy was not only extended on the revision of the liturgical books but also in church architecture and the arts.
SC 128 says, “the canons and ecclesiastical statues which govern the provision of external things which pertain to sacred worship should be revised as soon as possible, together with the liturgical books, as laid down in Article 25. These laws refer especially to the worthy and well-planned construction of sacred buildings, the shape and construction of altars, the nobility, placing, and security of the eucharistic tabernacle, the suitability and dignity of the baptistery, the proper ordering of sacred images, and the scheme of decoration and embellishment. Laws which seems less suited to the reformed liturgy should be amended or abolished. Those which are helpful are to be retained or introduced if lacking. In this matter, especially as regards the material and form of sacred furnishing and vestments.”
The San Antonio de Padua Chapel is an attempt of a possibility to express the culture of people as a way to active participation in addition to principles and guidelines laid down in the General Instruction of the Roman Missal and the Liturgical Guidelines on Church Architecture – Pope Paul VI Institute of Liturgy (LGCA-PIL) and other related documents on inculturation.
As the GIRM states:
As in the case of the building of churches, so also regarding all sacred furnishings, the Church admits the manner of art of each individual region and accepts those adaptations that are in keeping with the culture and traditions of the individual nations, provided that all are suited to the purpose for which the sacred furnishings are intended.
In this matter as well, that noble simplicity should be ensured which is the best accompaniment of genuine art.” (GIRM II-325)
“In choosing materials for sacred furnishings, besides those which are traditional, others are admissible that, according to the mentality of our own age, are considered to be noble and are durable, and well suited for sacred use.” (GIRM II-326)
Towards inculturation, the LGCA-PIL points out that:
“In a bid to inculturate the church building pastors and architects may pursue the concept of a Filipino house as a possible model so that the worshipping community may identify the church as their house and experience the domestic character of the Eucharist.”
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