Committee for the Arts
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Mission
Statement
Called by Christ, the
Committee for the Arts seeks to:
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Enhance the experience of the
beauty and mystery of God |
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Deepen spiritual journeys |
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Build communities of faith |
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Provide empowering learning
experiences,
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| Enable the use of
creative gifts |
|
THE
COMMON CALENDAR
GUIDE TO PUBLISHED RESOURCES
THE COMMON CALENDAR
ADVENT SEASON
First Sunday of Advent to Fourth Sunday of
Advent- violet or blue
Third Sunday of Advent —
rose, violet or blue
CHRISTMAS SEASON— white
Christmas Eve/Day- white
First Sunday after Christmas- white
New Year’s Eve/Day or Holy Name of Jesus- white
Second Sunday after Christmas- white
Epiphany- white
SEASON AFTER EPIPHANY (or Ordinary Time)
First Sunday after Epiphany (Baptism of the Lord) -white
Second Sunday after Epiphany to Eighth Sunday after Epiphany- green
Last Sunday after Epiphany (Transfiguration Sunday) -
white
LENTEN SEASON— violet or purple
Ash Wednesday- violet or purple
First Sunday of Lent to Fifth Sunday of Lent
Holy Week
Passion/Palm Sunday —
red or violet
Monday in Holy Week
Tuesday in Holy Week
Wednesday in Holy Week
Holy Thursday -
white
Good Friday —
none or black
Holy Saturday —
none or black
EASTER SEASON -
white
Easter Vigil
Easter -
white
Easter Evening
Second Sunday of Easter to Sixth Sunday of Easter
Ascension (Sixth Thursday of Easter) -
white
Seventh Sunday of Easter
Pentecost- red
SEASON AFTER PENTECOST (or
Ordinary Time or Kingdomtide) -
green
Trinity Sunday (First Sunday after Pentecost) —
white or green
Sundays After Pentecost -
green
Christ the King (Last Sunday after Pentecost) -
green or white
SPECIAL DAYS
Presentation (February 2)
Annunciation (March 25)
Visitation (May 31)
Holy Cross (September 14)
All Saints (November 1 or First Sunday in November) -
white
Thanksgiving Day —
red or white
Liturgical Notes taken from the U.C.C. Desk Calendar and Plan Book:
• Ash Wednesday begins the season of Lent.
Violet throughout Lent is in wide use, but some churches have begun instead to
use browns, beiges, and grays (i.e., burlaps and unbleached fabrics) to reflect
the mood of penitence.
• There are many variations in the use of vestments and color during Holy
Week. Some common practices: red, the color of martyrs, for Palm/Passion Sunday
up to Maundy Thursday, when white is used for Holly communion; stripping of all
chancel paraments at the conclusion of the Maundy Thursday service, with no
adornment until the appearance of white and/or gold at Easter Vigil or Easter
Sunday; the use of black, red or no color for Good Friday; the use of scarlet
during Holy Week instead of the “fIre” red of Pentecost.
• Red is sometimes used in the Church year as a reminder of martyrdom, but in
the case of the day of Pentecost, it is traditionally thought to represent the
tongues of fire. This burst of color is followed by the long season of ordinary
time during which the color green is displayed and worn to symbolize life,
growth, and the church in mission.
• Where Trinity Sunday is observed, white is often used.
• Some traditions observe All Saints Day as a celebration of all the saints,
including those of the past and those whom we have known in our midst. The usual
color for this day is white. In some traditions All Saints is celebrated yearly
on the first Sunday of November, and all who have died during the year are
remembered.
• The violet
color for Advent has traditional connections with the themes of royalty and
penitence. Blue is symbolic of the themes of expectation and hope, not only for
the birth of Christ, but for Christ’s return at the end of history.
• Advent wreaths come in many forms and colors. Some have four candles, and
some have a fifth for Christmas Eve and thereafter. Some advent-wreath sets
include a rose candle whose origins may be in Gaudete, and old custom in which a
little relief from the somberness of Advent was provided on the Third Sunday of
Advent.
• The use of rose on the third Sunday of Advent, which was called Gaudete Uoy),
provided a little relief from the somberness of Advent in earlier times. Some
advent wreath sets include a rose candle.
• White first appears on Christmas Eve and may be continued through the Sunday
after
Christmas, Epiphany, and the Sunday after Epiphany (celebrated by many as
the Baptism
of Christ) to show that all of these events are related in the incarnation of
Jesus Christ.
White is also used for Easter and Sundays following. Some traditions use gold or
both for Christmas and Easter.
The colors of the liturgical season do not vary for events such as baptisms and
wedding ceremonies held in the church.
GUIDE
TO PUBLISHED RESOURCES
For Application of the Arts to Worship
Laura Allison, Celebration: Banners, Dance
and Holiness in Worship, Wilmington,Pa: SonRise, 1987
Diane Appostolos-Cappadona, ed., Art Creativity, and the Sacred, New
York: Crossroad, 1989
Diane Appostolos-Cappadona, ed., Dictionary of Christian Art, New York:
Continuum, 1994
Mark P. Bangert, Symbols and Terms of the Church, Minneapolis:
Augsburg-Fortress, 1990
Susan A. Blain, Imaging the Word: An Arts and Lectionary Resource, voi.
2, United Church Press, 1995
Richard R. Caemmerer, Jr., Visual Art in the Lfe of the Church: Encouraging
Creative Worship and Witness in the Congregation, Minneapolis: Augsburg,
1983
Nancy Chinn, Spaces for Spirit: Adorning the Church, Chicago, Liturgy
Training Publications,1989
Jane Dillenberger, Style and Content in Christian Art, New York:
Crossroad, 1986
Linda M. Goens, Praising God through the Lively Arts, Abingdon Press,
1999
Sarah Hall, The Color of Light: Commissioning Stained Glassfor a Church, Chicago:
Liturgy Training Publications
Kenneth T. Lawrence, editor, Imaging the Word: An Arts and Lectionary
Resource, vol. 3, United Church Press, 1996
Kenneth T. Lawrence, editor, Imaging the Word: An Arts and Lecrionary
Resource, vol. 1, United Church Press, 1994
Joyce Mori, Crosses
of Many Cultures: Designsfor Applique, Morehouse, 1998
David Philippart,
Clothed in Glory:
Vesting the Church, Liturgy
Training Publishers, 1995
Virginia Raguin, Glory in Glass: Stained Glass in the
United States
: Origin, Variety, and Preservation. Exhibition catalogue, The Gallery at
the American Bible Society. New York: American Bible Society, 1999
Thomas G. Simons and James M. Fitzpatrick, The Ministry of Liturgical
Environment, Collegeville, Minnesota: Collegeville, Minn., The Liturgical
Press, 1978
Alva William Steffler, Symbols of the Christian Faith, Grand Rapids,
Eerdmans Pub., 2002
Eleanore Feucht Sudbrock, Seasons for Praise: Art for the Sanctuary, Concordia
2001 Robert E. Webber, the Creative Mixture of Old and New. Abingdon Press, 1998
Robert E. Webber, Achieving Substance and Relevance in Worship, Hendrickson,
1996
Robert E. Webber, editor, Music and the Arts in Christian Worship, 2
vols. Hendrickson Pub., Inc., 1995
Robert E Wunderlich, Worship and the Arts: A Study of the LIfe of the Church
Expressed in Worship and the Arts, St. Louis: Concordia Pub. House, 1966
For Studies of Art, Worship, Worship Space, and Liturgy
African American Experience in Worship and
the Arts, New Haven: Yale University
Institute of Sacred Music, Worship, and the Arts, 1992
Doug Adams and Michael Moynahan, editors, Post-Modern Worship and the Arts, San
Jose: Resource Pub., 2002
John W. Cook, “To a Parish on the Verge of Construction or Renovation, “pamphlet
published by the United Church Board for Homeland Ministries, Division of the
Evangelism and Local Church Development, in Partnership with the Fellowship of
United Church of Christ Architects. No date
Janet R. Walton, Art and Worship: A Vital Connection,
Wilmington
: M. Glazier, Inc., 1988
James F. White and Susan J.
White, Church Architecture: Building and
&Renovating for Christian Worship,
Nashville
: Abingdon Press, 1988
James F. White, Protestant Worship and Church Architecture: Theological and
Historical Considerations,
New York
: OxFord Univ. Press, 1964
James F. White, Introduction
to Christian Worship, Abingdon: Nashville, 1980
Peter W. Williams, Houses of God: Region, Religion, and Architecture in the
United States, Urban, Illinois: University of Illinois Press, 1997
For Attitudes toward Religion and the Arts
Alberta Arthurs arid Glenn Wallach, editors, Crossroads:
Art and Religion in American LIfe, New York: The New Press, 2001
Earl Jerome Coleman, Creativity and Spirituality: Bonds Between Art and
Religion, State Univ. of New York Press, 1998
John W. DeGruchy, Christianity, Art and Transformation, Cambridge:
Cambridge University Press, 2000
John Dillenberger, A Theology of Artistic Sensibilities: The Visual Arts and
the Church, New York: Crossroad, 1986
William Dyrness, Visual Faith: Art, Theology, and Worship in Dialogue, Grand
Rapids: Baker Book House, 2001
Paul Corby Finney, editor, Seeing beyond the Word: the Visual Arts and the
Calvinist Tradition, Grand Rapids: Eerdmans, 1999
*Frank E. Gaebelein, The Christian, the Arts, and Truth: Regaining the Vision
of Greatness, Portland: Multnomah Press, 1985 [Good book to begin reading]
Paul Giles, American Catholic Arts and Fictions: Culture, Ideology,
Aesthetics, Cambridge, England: Cambridge Univ. Press, 1992
Gregor T. Goethals, The TV Ritual: Worship at the Video Altar, Boston:
Beacon Press, 1981
George S. Heyer, Signs of Our Times: Theological Essays on Art in the
Twentieth Century, Grand Rapids: Eerdmans, 1980
Albert Rouet, Liturgy and the Arts, Collegeville,
Minnesota: The Liturgical Press, 1996
Franky Schaeffer, Addicted to
Mediocrity: 20th Century Christians and the Arts, Westchester,
Illinois: Crossway Books, 1981
Richard Viladesau, Theology
and the Arts: Encountering God through Music, Art, and Rhetoric, Paulist
Press, 2000
*Donald Whittle, Christianity and the Arts,
Philadelphia
: Fortress Press, 1966 [Good book to begin reading)
* Wilson
Yates, The Arts in Theological Education: New Possibilities for Integration,
Atlanta
:Scholars Press, 1988 [Good book to begin reading.]
Resources on Internet or from catalogs
Ecclesiastical Arts Catalog and/or Handcrafted
Paraments.
www.augsburgfortress.org
Christian perspectives on the various arts. http://www.artsmag.org
Christians in the Visual Arts, http:
/ /www.civa.org
Free Christian Photography. http://www.freestockphotos.com/Christian.html
The Index of Christian Art. A database of Christian Art provided by Princeton
University. http://ica.princeton.edu/
Religious Art on the Web. List featuring contemporary Christian art and artists.
http://www.bc.edu/bc_org/avp/cas/fnart/links/contemp_relig.html
Cathy Townley, “Musings on Art- and the Relationship to Worship in the 21st
Century,” http://www.next-wave.org/apr00/musings_on_art.htm
Jerry Hames, “Adding Art To Worship: Nancy Chinn transforms Liturgical
Spaces,” http://arc.episcopalchurch.org/episcopal-life/ASChinn.html
“Environment and Art for Worship,” Assembly, Notre Dame Center for Pastoral
Liturgy, http://liturgy.nd.edu/assembly/
Supply catalog for
gossamer and other “environment” materials.
www .
stumpsprom. com “Stumps”catalog:
phone number 1-800-348-5084
Silk fabric and dye supplies. www.dharmatrading.com
Dharma Trading Co: phone number
1-800-542-5227.
Images of Christ
Gabriele Finaldi, The Image of Christ, London:
National Gallery; distributed by Yale Univ. Press, 2000
David Morgan, Visual Piety: A History
and Theory of Popular Religious images, Berkeley:
University of California Press, 1998
Jaroslav
Pelkian, The Illustrated Jesus through
the Centuries, New Haven: Yale
University Press, 1997
Masao Takenaka and Ron O’Grady, The
Bible through Asian Eyes, Auckland, New
Zealand: Pace Pub., 1991
Anton Wessels, Images ofJesus: How Jesus
is Perceived and Portrayed in Non-European Cultures, Grand
Rapids: Eerdmans, 1990
Wisconsin
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