ART AS A MEDIUM OF PROCLAMATION WITH A SPECIAL REFERENCE TO KPRT CHAPEL

KHRIST PREMALAYA REGIONAL THEOLOGATE
(AFFILIATED TO PONTIFICAL URBANIANA UNIVERSITY, ROME)



ART AS A MEDIUM OF PROCLAMATION
WITH A SPECIAL REFERENCE TO
KPRT CHAPEL



BY
A.ANISH JEBERSON

(A Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Bachelor of Theology)

MODERATOR: REV. DR. C. MICHAEL JOHN


ASHTA
2010-2011


Acknowledgement

A great sense of satisfaction and happiness fills my heart as I complete this work. I bow before my Almighty God with a deep sense of gratitude for His care, concern, guidance and love that I experienced in accomplishing this endeavour of mine.
As I look back I remember all who have supported and encouraged me to carry out this task. First of all I express my heartfelt gratitude to dear Fr. C. Michel John, who has been an inspiration for me in my journey towards priesthood. It is he who motivated me to write this dissertation on the art works of Khrist Prem Mandir. In spite of his busy schedule he was kind enough to go through the paper patiently and making the necessary corrections and helping me to bring it out successfully.
I extend my gratitude to Fr. Rector, Fr. Dean and the staff of Khrist Premalaya Theologate, Ashta for their guidance, support and providing me with ample opportunities to grow spiritually and intellectually. I greatly acknowledge the help rendered to me by eminent professors Fr. Louis Malieckal, Fr. Theodore Toppo, Fr. Thomas Srampickal and Fr. Lazar G in completing this work. I also remain indebted to all my loving friends and my library colleagues who have helped me in various ways to complete this research.

Ashta Bro. A. Anish Jeberson

4/09/2010


TABLE OF CONTENTS
Acknowledgement i
Table of Contents………………………………………………………………………ii
Introduction 1

Chapter 1 ART AND CHRISTIANITY 4

1.1 Notion of Art…………………………………………………………………...4
1.1.1 Various Definitions 4
1.1.1.1 Western Understanding of Art 5
1.1.1.2 Indian Understanding of Art 5
1.1.2 Universal Nature of Art 6
1.1.3 Art and Style 6
1.1.4 Religion and Art 6
1.1.5 Christian Art 7
1.1.5.1 Content and Subject Matter of Christian Art 8
1.1.5.2 Christian Art Down the Centuries 9
1.2 Proclaiming Church…………………………………………………………..11
1.2.1 Content of Proclamation 11
1.2.2 Missionary Approaches of the Church 12
1.2.2.1 Missionary Methods in the Past 12
1.2.2.2 New Way of Evangelization 12
1.2.3 Encountering the Cultures 13
1.2.3.1 Inculturation 14
1.3 Proclamation Through Art…………………………………………………..15
1.3.1 Art Communicates 15
1.3.1.1 Symbolic Nature of Art 15
1.3.2 Art as a Medium of Proclamation 16
1.3.2.1 Sacramental Nature of Art 17
1.3.2.2 Prophetic Role of Art 17
1.3.3 Proclamation through art in India 17
1.3.3.1 Ancient Period 18
1.3.3.2 Jesus in the Eyes of Non-Christian Artists During Modern Period 18
1.3.3.3 Contemporary Christian Artists 19

Chapter 2 PROCLAMATION THROUGH ART AT KPRT CHAPEL 29

2.1 Establishment of Khrist Premalaya Theologate……………………….……29
2.1.1 Khrist Prem Mandir (Chapel) 30
2.2 Profile of the Artist…………………………………………………………...30
2.2.1 Brief Life-Sketch 22
2.2.2 A Unique Artist 23
2.3 General Outline of Khrist Prem Mandir.……………………………….…....24
2.3.1 Ground Plan 24
2.3.2 List of the Art Works at the Chapel 25
2.3.3 The Tulsi Plant 26
2.4. Mukhamandapam (The Front Elevation)………………………………..….26
2.4.1 Three Storeyed Elevation 26
2.4.2 The Cross 27
2.4.3 The Bread and Fish 28
2.4.3.1 Bread 28
2.4.3.2 Fish 28
2.4.4 Inscription of the Sacred Phrase 29
2.4.5 Emblem of the Seminary 29
2.4.6 Pavitra Tīrtha (Water Ponds) 38
2.4.6.1 The Aspect of Initiation 39
2.5 Pāršva Mandāpas (Side Elevations).……………………………….………....39
2.6 Biblical Stories in Mural Paintings of Tribal Art……………………….….32
2.6.1 Significance of Tribal Art 32
2.6.2 Two Journeys and their Significance 33
2.6.2.1 The Exodus 33
2.6.2.2 The Triumphal Entry of Jesus into Jerusalem (Jn 12,12-19) 34
2.6.3 The Theme of Pilgrimage 34
2.6.4 The Theme of Liberation 35
2.7 Rajasthani Glass Works on Seven Sacraments….…………………………36
2.7.1 Baptism 37
2.7.2. Confirmation and Anointing of the Sick 39
2.7.2.1 The Oil Jar 39
2.7.2.2 The Way 48
2.7.2.3 The Dove 49
2.7.2.4 The Hand 49
2.7.2.5 The Cross 50
2.7.2.6 Communitarian Aspect 50
2.7.3 Holy Eucharist 50
2.7.3.1 The Bread and Chalice 42
2.7.3.2 The Ear of Wheat and Grapes 43
2.7.3.3 The Hearts Engraved on the Palms 43
2.7.3.4 Eucharist, a Sacrifice 43
2.7.4 Sacrament of Reconciliation 44
2.7.4.1 The Forgiving Love of the Father 44
2.7.4.2 The Loving Sacrifice of God 45
2.7.4.3 Salvific Repentance of the Sinner 46
2.7.5 Sacrament of Matrimony 46
2.7.5.1 The Sacrificial Fire 47
2.7.5.2 The Puornakumbha (Urn of Fullness) 47
2.7.5.3 The Burning Hearts and Crucifix 47
2.7.5.4 The Knotted Tips 48
2.7.6 Sacrament of Holy Order 49
2.7.6.1 Participation in the Priesthood of Christ 49
2.7.6.1.1 Cross, symbol of Service 59
2.7.6.2 Gifts of Holy Spirit 59
2.7.6.3 Ministry of Proclamation 60
2.7.6.4 Ministry of Shepherding 52
2.7.6.5 Prophetic Ministry 52
2.8 Trinitarian Mystery on the Stained Fibre-Glass………………….………...53
2.8.1 Father 54
2.8.2 Son 54
2.8.3 Holy Spirit 55
2.8.4 Feminine Face of God 56
2.8.5 Concept of Unity and Grace 57
2.9 Urdhāvarana……………………………………………………….…….…….58
2.10 Pictographs of God’s saving Acts on Smrti Stūpa & Tabernacle…….…..58
2.10.1 Eucharist as Memorial 59
2.10.2 Smrti Stūpa (Memorial Pillars) 69
2.10.3 Memory Pillar at Khrist Prem Mandir 70
2.10.3.1 Creation Account (Gen 1,1-31) 70
2.10.3.2 Deluge (Gen 8,1-19) 61
2.10.3.3 Exodus and Crossing of the Red Sea (Exod 3 & 14,1-30) 62
2.10.3.4 Manna, Quails and Water from the Rock (Exod 16,1- 17,6) 63
2.10.3.5 The Ark of the Covenant (2Sam 6,1-19) 64
2.10.3.6 Prophet Jonah and the People of Nineveh (Jonah 1,3- 3,9) 64
2.10.3.7 The Incarnation (Lk 2,1-40) 65
2.10.3.8 The Miraculous Catch of Fish (Lk 5,1-11) 65
2.10.3.9 Jesus Walking on the Water (Mt 14,22-32) 66
2.10.4 Other Symbols Used in the Art Work of Tabernacle 66
2.11 Vac-Vedi: Metal Work of Leaping Flames…………………….…………..67
2.11.1 Leaping Flames 68
2.11.2 Image of Sprouting Seed 68
2.12 Mrtynjaya: Image of the Glorified Dancing Christ…………………..……69
2.12.1 Understanding of Dance in India 69
2.12.2 Understanding of Dance in Christianity 70
2.12.3 Mrtyunjaya Christ Murti: Comparison with Nataraj 70
2.12.3.1 The Image of Nataraj and its Symbolic Meanings 80
2.12.3.2 The Image of Mrtyunjaya Christ and its Symbolic Meanings 72
2.12.4 Theology of Mrtyunjaya Christ 72
2.12.5 Cross of Dancing Christ 73
2.12.5.1 Eastern Christian Symbolism 74
2.12.5.2 Indian Traditional Symbolism 74
2.13 Various Religious Symbols in Triangular Fibre-Glass…………………...75
2.13.1 Symbol of Taoism 76
2.13.2 Symbol of Shintoism 77
2.13.3 Symbol of Sikhism 77
2.13.4 Symbol of Jainism 78
2.13.5 Symbol of Jewism 79
2.13.6 Symbol of Buddhism 79
2.13.7 Symbol of Zorastrianism 89
2.13.8 Symbols of Hinduism 90
2.13.8.1 Symbol of OM 90
2.13.8.2 Symbol of Sudarshana Chakra 81
2.13.9 Symbol of Christianity 82
2.13.10 Symbol of Tribalism 82
2.13.11 Symbol of Islam 83
2.14 Tribal Life and Dance on the Outside Cement Wall……………………...83
2.15 The Wooden Altar and the Stations of Cross on Earthen plates….……...84

Conclusion 86
Bibliography 88

Introduction
The main mission of the Church is the proclamation of the Good News of God, which was entrusted to her by Jesus himself. Hence, from her inception she has been faithfully carrying out this mission of proclamation among the people of different nations using various means. The beauty of the Church is that according to the situation and the time she adopts new and creative methods to proclaim the Good News of God. She has used ‘Art’ as one of the medium of proclamation. Art is a dynamic reality and it communicates much more than the spoken word. And art is universal; it is not confined to any particular culture or society. It is found everywhere with some unique elements pertaining to the particular local culture. Indeed, the heart of a culture spontaneously and verily pulsates through its art forms and symbols. Naturally, the Gospel incarnates itself in to that culture through its art forms. Hence, from early time onwards art has become one of the prominent media of propagating the faith. The Christian artists have dared to capture the unseen and ineffable divine mystery in their art work. Thus, the churches, places of worship, monasteries and most of the Church buildings are adorned with different kinds of art works, which silently proclaim the Gospel.
Christianity as a Faith, has always interacted with the world of other religions and cultural traditions. Engagement with culture has always been a vital legacy of Christianity. Since the Second Vatican Council inculturation has become the key code of evangelizing mission. India is a land known for its pluralism and diversity. It is a land of many religions, diverse cultures, numerous languages, various caste systems and multiple life styles. It has its own rich and ancient religion and cultural tradition. Indian culture is vibrant and renowned for its numerous varieties of fine and subtle art forms and expressions whose roots are deeply anchored in her folk religiosity, mysticism and social life. Moreover, art is a part and parcel of day today life of every Indian. It is in this context, the Church is trying to carry out the mission of proclaiming the Good News of Christ in India. Thus, to be more effective in her ministry of proclamation she finds art as one of the best media to give Christ to the people of India. Since art is the most spontaneous and vibrant channel for the proclamation of the Gospel in Indian culture, there have been many attempts to present the Gospel in Indian art forms. Thus, we find that churches are built and adorned with different kinds of Indianized art work.
The chapel at Khrist Premalaya Regional Theologate, Ashta is one such work, which is built and decorated with Indian art forms. It bears witness to the Church’s way of proclaiming the Gospel through Indian art forms. Every seminarian or every person who enters inside this chapel marvels at the way the artist has portrayed the Gospel truth using different symbolic art forms. This chapel is one of the best examples for proclaiming the Gospel through art based on the local traditions.
It is true that an artist speaks through his works. His works communicate with the people on his behalf. But at the same time it is not only the artist who should speaks to the viewers, but the art itself. The art speaks for itself. It communicates the hidden message inherent in it. It is said that ‘Beauty lies in the eyes of the beholder’. One of the distinct features of any art work is that it gives new meaning every time when one looks at it. Each one will interpret it from his/her own perspective. But at the same time every art conveys some basic truths that are eternal. So, in this presentation all that I am trying to do is to find out the basic meanings and theological concepts behind the art works at Khrist Prem Mandir, Ashta.
This dissertation has two chapters. The first chapter briefly explains the meaning of ‘Art’ through various definitions both Western and Indian, the nature of the art, the relationship between religion and art and how the Church makes use of art in her proclamation with a special emphasize on inculturation, specifically in India. At the end, this chapter also gives in nutshell the development, the role and the functions of Indian Christian Art.
The second chapter exclusively deals with the art works at Khrist Prem Mandir. This chapter begins with the general understanding of the chapel and the brief life sketch of the artist Fr. Joy Elamkunnapuzha, and it goes on to explain every art work present in the chapel. As it is the chapel of the Regional Theologate this chapter treats these art works from a theological perspective firmly rooting it on the word of God.
I am sure that this dissertation could be of some help to those who would like to have some ideas about these art forms. But at the same time I would like to state the fact that in spite of my best attempts I could not meet and interview the artist Fr. Joy E., the brain behind this wonderful architecture. Hence, the reflections share here are my explanation as a beholder; they may not reflect necessarily the views of the author. In this endeavor of mine, I have mainly depended on some sources having some references about this chapel and on the interviews that I had with various scholars especially with Fr. Louis Malieckal during whose tenure as the rector, the chapel was built. Along with them I have also put my personal reflections based on some valuable books of the seminary library. So all that I have written may not be the exact meaning or message that the artist intended to convey, yet it is my belief that this my humble attempt will help in some way or the other to understand the message of God that are portrayed in these art forms.






















Chapter I
ART AND CHRISTIANITY

1.1 Notion of Art
What are arts, and what is art in general? This is still a controversial question after centuries of debate. We do not have a simple yet comprehensive definition of art. In fact, the word ‘art’ has many meanings. In the past the word ‘art’ was used in the broad and technical sense. In this sense, the English term ‘art’ covered not only what are now called ‘fine arts’ or ‘aesthetic arts’ but any kind of transmitted, useful skill, such as agriculture, medicine and war. But today these utilitarian skills are distinguished from the term art and called ‘industries’, ‘techniques’. Some consider art as something that is aimed at giving aesthetic pleasure to the beholder. But the question arises ‘Does art confine itself only in giving aesthetic pleasure or is it much more than that?’

1.1.1 Various Definitions
Even though we do not have specific definition of ‘art’ that commands universal assent, yet several definitions expressing some of the aspects of art are proposed. Here, I would like to present a few of them:
The Oxford Advanced Learner’s Dictionary defines art as:
“The use of the imagination to express ideas or feelings particularly in painting, drawing or sculpture.”
According to Cornard, “Art is the expression of beauty in a harmonious way”
Ananda Kent Coomarasamy, the well known art historian said that art is simply a human’s handiwork. He defined art as “Art is a man’s way or woman’s way of accomplishing his or her ends; it is not a product of individual genius but something integrally interwoven with life.”



1.1.1.1 Western Understanding of Art
In the western tradition, the original meaning of art is ‘skill in making’. The word was used by the ancient Greeks first of all to refer to the crafts that satisfy basic human needs. Throughout the ‘Dialogue of Plato’ and the writings of Aristotle this meaning of art is the basic one employed to explain all other skills, whether physical or mental. Art was also early on recognized as a sign of a certain excellence, testifying to man’s progress beyond what nature can provide. In addition to this, art has been also defined as the expression and transmission of remembered emotion. This understanding is not inconsistent with the technical meanings of art, but it puts an emphasis on the artists procedure rather than the effects and function of the product.

1.1.1.2 Indian Understanding of Art
In India rich traditional art exists. These art forms are often connected with religious background. India is a land where religious art means so much, as it touches the heart and mind of the people. The word kala (art) has its root meaning as movement (calan), vibration (spandan), way (gati). It sprouts from personal taste and takes the shape in imagination. It proceeds into co-ordination, arrangement and order, providing meaning and beauty. It is the creation or expression of what is beautiful. Whatever be the form of art be it drawing, painting, sculpture, architecture, music, dance, dramas, ballet etc, there is a movement, energy and life in it. “No genuine art form is something dead, static and bounded, but it is always alive, dynamic, evolving, transforming and transcending. In other words, art is intimately related to life in all its forms. And so the function of art is to reflect and commemorate life, as well as challenge and criticize it.”



1.1.2 Universal Nature of Art
Art is the harmonious experience of beauty without being confined to any place, to any country, to any mass or some groups of people only. It is universal. Every human being in the world is oriented to it. “The inclination of art is the natural form of the humans. It is natural heredity of humanity. It covers the whole of life to the details. It entertains, enriches and helps to flourish the human life. It prompts self-encounter and this recreates the human life. It is a multi-dimensional activity of the human: volitional, intellectual, emotional, imaginational and spiritual. Art is a comprehensive endeavor of human person.”

1.1.3 Art and Style
A ‘stylus’ was a pointed metal instrument used in the past for engraving letters on wax. Gradually it came to mean the way or material manner of writing, and finally it meant the intellectual way of expressing one’s skill through architecture, painting, etc. “Besides all these, ‘style’ may even mean the personal characteristic of a man or the characteristics of some people or even some of regions. In this sense we have a ‘personal style’ based on the character of a particular man, and revealing his personal characteristics; ‘local style’ revealing the characteristics of some place, nation or region; ‘the style of the people’ revealing the characteristics of a particular people or race.” Art then is the genus, style is the specre; art is universal, style may be personal, local or confined to a region.

1.1.4 Religion and Art
In most cultures art and religion are closely connected. Both transcend the rational limits of the human mind, and both depend heavily on the possibilities of symbolic representation of a spiritual reality envisioned in, behind, or above the material world of the senses. Without the possibility of symbolic representation, art can be nothing more than a duplication of material forms. And religion has to be silent. In both art and religion, man can feel himself to be in communication with the inexpressible infinite. In both, humanity tries to break through the frontiers of existence. By combining the mystery of prayer with the miracle of graphic depiction man came to terms with environment. This was a way of his attempt to control the uncontrollable, to confront the superior forces of nature.
The close alliance between art and religion means that art is used by religion; the arts become collective liturgies, providing sensuous elements to increase the hold of a religious doctrine over the more private aspects of human experience. “If art interacts with religion, if artists can have an influence on the development of religious orientations religion might acquire some of the characteristic of an art, become less systematized, more private, less dogmatic in its claims, more individualizing in the experiences if permits. The Medieval Church by and large, used the arts, while the Asian religions, other than Confucianism- tended to interact with the art.”
From its inception art has served religion well. It has given people pleasure and instilled in them the highest values and virtues. The specific purpose of connecting religion with art has dissipated over the centuries. In the west, modern theatre has come to serve even anti-theistic aims. However, in the East, for all the encroachment of materialism, a close relation between God and man is still upheld. Asians are not yet ready to relinquish the spirituality inherent within their arts. For the present and for a long time to come, it seems too difficult to isolate art form religion, and impossible to remove religion from the arts.
As a whole we can say ‘art is a dynamic reality that expresses one’s own being in a symbolic and aesthetic way so as to communicate his/her inherent thoughts.’

1.1.5 Christian Art
Since art is universal, it is difficult to consider something as Christian art. Art by itself remains as an art, no matter whether the artist is a Christian or a Hindu or a Muslim. One does not speak of Christian mathematics or medicine. The arts and sciences have their own laws and standards. To qualify or to restrict them in anyway would mean to interfere with their essence, to spoil the purity and to limit their freedom.
On the other hand we do in fact speak of Christian art. Is Christian art that which is produced by the artists who happen to be Christians? Is it the art which manifests a Christian perspective, even if the artist nominally is not a Christian? Is it art inspired by biblical or Christian themes? A static or fixed definition is not what is called for. What is needed is a discerning mind and a sharp eye and a deep sensitivity. But in general, we can say that “where art and architecture have been molded from a Christian vision of the world as distinct, for example, from a primitive vision of the world, we can speak of that art as Christian.”

1.1.5.1 Content and Subject Matter of Christian Art
In any consideration of content in art, it is important to distinguish between the subject matter and the content of a work. A subject matter treated by an artist in the Renaissance may be quite the same as that treated by a Byzantine artist. However, the manner of conception deriving from different social, theological, geographical and technical factors produces a content in one some what different from that in the other. The manner of conceptualization employed by the artist enters the content of the work. Throughout the Christian cultures in different geographic areas at different times, shifting theological emphases have colored the content of Christian theme, as they are presented in Christian art.
The vast deposit of Christian iconography testifies the fact that Christianity has provided art with new and specific subject. The primary source of such subjects was the Bible, especially the Gospels, in the presentation of the life, death and resurrection of Christ. The events of life of Mary, her sorrows, and her assumption and glorification were favorite subjects of art in all its forms; so too were the lives and especially the miracle and martyrdoms of the saints; the Church herself usually through some symbol; the sacraments, the Last Judgment; heaven and hell.

1.1.5.2 Christian Art Down the Centuries
In the early days of the Church, the fathers gave little encouragement to art, ‘cursed be all who paint pictures’ is a sentiment often found in their writings. “The AD 315 synod of Elvira cautioned against pictures in the Church building. Iconoclastic movements in Orthodox, Catholic and Protestant Churches often resorted to the destruction of artistic visual images. The classic example is the iconoclastic controversy of 8th and 9th centuries. Besides the political, economic, social reasons, the religious reason for this kind of attitude is the fear of idolatry, and identification of the image as the object of worship.”
In spite of the antagonism towards art the relationship of the Church with art has been much more positive than negative. Theologians and Church Councils have expressed strong support for the arts. Some examples are the pictorial images in the catacombs, ancient art in Antioch, Dura Europs, Pope Gregory I’s supportive letter of c.600, the flourishing of Byzantine icons after the 2nd Council of Nicea in 787. Throughout the history of Christianity, as God’s people encounter the power of the Gospel in each local context, we see new visions and hear new songs. One sees exciting correlation between Christianity and culture, and particularly between faith and art. The power of Christ is an illuminating power, stimulating the vision of those who have artistic gifts in every generation.
Whenever the inner life of people is inspired we see the vigorous development of religious art in various forms. This was true even at the time of the early Christians who carved images of fish on the walls of the catacombs as an expression of their irreplaceable confession of Jesus Christ as Saviour and the Son of God. When Christianity penetrated widely among the people in Asia Minor, the Church produced the unique art of the Byzantine period. In the northern parts of Europe a new form of art developed with specific features brought to Christian art by the German people. It is this new phenomenon which grew into what is known as the Gothic art of the middle ages. The cultural revolution, the renaissance movement, which questioned the northern barbarian values, and which manifested nostalgia for the classical Roman and Greek era, produced the renaissance art form. Michelangelo Buonarroti, Leonardo Da vinci, Raphael Sanzio and an army of artists produced their immortal creations from 14th to 16th century. During the Protestant Reformation there was a new development which grasped the message of the Bible in the light of the ordinary people.
After Vatican II a wide varieties of forms have evolved incorporating the experiences and cultural differences of all people, all over the world. Today there is a usage to express the Christian message through local art forms. Vatican II in the document Gaudium et Spes clearly says,
Literature and art are very important in the life of the Church … New art forms adapted to our times and in keeping with the characteristics of different nations and regions should be acknowledged by the Church. They may be also brought into the sanctuary whenever they raise the mind up to God with suitable forms of expression and in conformity with liturgical requirements. Thus the knowledge of God will be made better known; the preaching of the Gospel will be rendered more intelligible to man’s mind and will appear more relevant to his situation.
In the climate of the cultural renaissance of today, the Churches in Asia are increasingly recognizing the creative gifts of artists and appreciating their contribution in the life and mission of the Churches.
The Churches of Asia cannot truly be confessing Churches as long as they remain societies apart from the Asian nations. Therefore the use of indigenous forms of painting and sculpture, which carry and express the Christian message naturally, is encouraged. The Christian art, which was formulated in the Asian context with Asian sensitivity contains a significant possibility for communication of the Gospel in today’s context, not only in Asia but also elsewhere. This is because the image cuts across linguistic and cultural differences and goes beyond the sphere of the printed word.



1.2 Proclaiming Church
The Church instituted by Christ himself, is called to bear witness to her faith, so that others may also come to believe. The Church is called to give testimony to the mystery worked out in Christ through the Spirit, a mystery which constitutes her intimate nature, and which she must reveal and communicate. For this, she is sent by the power of the same spirit to announce and communicate her experience and in this way to exercise her apostolic and motherly mediation. She is called and sent to ‘Evangelize’. The Church is sent to all wo/men, to all people and nations, to the whole world, so that at all times and in all places, unique praise may ascend to the Father, through Jesus Christ. The mission of the Church is “to make present her own intimate mystery in the diverse cultures and in different times of history, so that, through the words and actions of salvation, peoples and nations may be called together and be constituted into the people of God and all may become sons and daughters of the only Father in Jesus Christ as said by Vatican II in Lumen Gentium “All the just, starting from Adam and just Abel, till the last of the elect will be gathered together with the Father in the universal Church.”

1.2.1 Content of Proclamation
In the Church, there is an objective and a subjective dimension in the proclamation of faith. In the Acts of the Apostles, we see the Apostles explaining not only the objective fact that ‘Christ is Risen’ but also together with that they proclaim their faith in it and their subjective attitude towards it. They are convinced that Christ is risen. The content which the Church communicates and which is the object of evangelization consists of these two aspects: Christ is risen and we believe it. She proposes it to the nations not as a news but as an announcement which tends to provoke and motivate not only the knowledge of the resurrection, but above all the faith in it and adherence to the Risen Christ.


1.2.2 Missionary Approaches of the Church
In proclaiming the Good News to all nations, the Church has followed many methods down the centuries. Her missionary approaches have been influenced by the existing contexts and her understanding of mission basing on the world view of that time. Thus, we find her adopting different methods in spreading the Good news.

1.2.2.1 Missionary Methods in the Past
Earlier, one was advised to preach a ‘pure’ and a simple Gospel or a neutral Gospel, a Gospel devoid of every sociological garb and of all cultural expressions. “One is expected to preach the Gospel in an oral and verbal form, in stress typed manner, in absolute and static terms, under the pretext of not adulterating God’s work and for the fear of betraying the Gospel.”
This approach was considered as an act of spiritual aggression. One of the chief complaints leveled against Christian missions in the past, even today, is that the “missionaries came from outside, lived apart, set up ghettos of Christian communities, segregated them from the mass of the population; they alienated the people from their nation and concerns, their traditional culture and age old religions, cutting them away from the mainstream of nations and social life, imposing upon them an alien religion by force or pressure, by threats or allurements.” Though most of allegations are not well-founded, yet, by and large the approach of the missionaries was an exclusivist approach that was dominated by the western culture.

1.2.2.2 New Way of Evangelization
Culture and Religion are two distinct entities with a personality, identity and autonomy of their own. Yet, for their vitality and growth, they are interdependent and need mutual sharing in openness and depth and undergo dynamic interaction and reciprocal influences. And yet, in the process, they maintain their respective identity. This is well expressed by Pope Paul VI in his Apostolic Letter Evangeli Nuntinandi:
The Gospel, and therefore evangelization, are certainly not identical with culture, and they are independent in regard to all cultures. Nevertheless, the kingdom which the Gospel proclaims is lived by men who are profoundly linked to a culture, and the building up of the kingdom cannot avoid borrowing the elements of human culture or cultures. Though independent of cultures, the Gospel and evangelization are not necessarily incompatible with them; rather they are capable of permeating them all without becoming subject to anyone of them.
We do not announce the Gospel purely and simply in an abstract manner. The Word of God passes through a human word. And this word, to be meaningful to the human world, should be expressed in the language, in the categories of thought, in the images and forms of speech, through the current means and techniques of communication, and according to the pedagogy prevalent in a region and suitable to a human group. Today, the need has arisen for the missionaries, both priests and lay people, to enter into the cultures of the people of other religions so that they may understand them from within and that they may encounter them as they are. “It is of importance that through dialogue, we discover the authentic values which are present in other religions so that these values may be purified and elevated and the Gospel of Christ inserted within them. Thus, Christ will be made to manifest to the people of other religions, not as a stranger but as one whom they have always sought for.”

1.2.3 Encountering the Cultures
The encounter of the Gospel with culture is at the heart of the mission of the Church. Christ commissioned his disciples to preach the Gospel to the whole world. Gospel encounters the culture of the people wherever it is proclaimed. The interaction between the Gospel and the world (cultures) can be compared to what happens to a seed when it is sown in the field. The word of God, the Gospel, is like a seed that falls into the furrows and folds of every new historical situation, a new culture, a new age, a new society and new religious conceptions and sensitivities. There it dies and rises to a new existence; and the sapling draws sustenance from the milieu, builds itself up with the human and the religious resources that are there, and grows strong in God’s light. There should be no question of importing ready-made liturgies, theologies, church structures and faith formation.

1.2.3.1 Inculturation
Inculturation is a term that emerged after the Vatican II. It is strictly a theological term. The term implies three things:
(a) the insertion of the Gospel within the very heart of a culture (b) the interaction between the Gospel and culture (c) a process of exchange by which new insights of the message of Christ can be achieved.
Ecccelsia in Asia states that “Inculturation is the obligatory path for evangelizers in presenting the Christian faith and making it part of a people’s cultural heritage.”
Inculturation is another word for evangelization. Through insertion of the Gospel into a culture, the incarnation of the word of God takes place in a particular place. Through interaction with a culture, the Gospel, which comes to the people already embedded in a particular cultural form, is made to encounter dynamically the culture of the people to whom it is announced. Through the process of exchange the Gospel acquires new expressions in theology and catechesis, art and architecture, Church leadership and structures, spirituality and liturgy. Accordingly, we have the fulfillment of the promise of Lord that the Holy Spirit will remind the apostles as to how they have to speak and act as they announce the Gospel. This Spirit - reminder does not consist in a mere recalling of the teachings of Jesus, but in expressing them adequately, that is from within the culture of their hearers.
Inculturation does not mean creating a national art. Rather it is a process where by individual persons, who live in communities shaped by the Indian history and landscape can discover their own inner identity and reality. Inculturation implies creativity and originality and dynamism and relevance. There can no more be a monotonous repetition in art and architecture, language and music of the West. It is high time that we start being ourselves, start being conscious of what we are with our own unique cultures, etc.

1.3 Proclamation Through Art
1.3.1 Art Communicates
Art is not only for beauty sake, but one of the essential qualities of the art is it is one of the best media of communication. Art communicates in various ways. Art may be used by various social agencies or groups to perform functions that theses agencies are interested in. Art can function as a means of attaining the purpose of any social system of society. For example, in an ideological system, it can operate to strengthen the hold of established values by filling the imagination with forms or content suggestive to these values or to question them by presenting forms and content that are irreconcilable with existing values.

1.3.1.1 Symbolic Nature of Art
Art does not limit itself by being a means to promote a social end/purpose. Art has much deeper meaning in itself. Art itself is a surprise, a wonder. Beauty is defined in Indian aesthetics as that which continues to surprise, continues to be ‘new’ every time we look at it. Not only the one looks at it, even the artist himself, sees new things in the image every time he contemplates it. “Contrary to the Western perspective the Indian perspective of art is not that is being created by an artist himself but the artist contemplating matter, the rock, the stump of a tree, and so forth, begins on a process of evocation. An image is evoked in the artist, and reversely by, he working on matter, clarifies and further evokes an image which he already intuits as having been there from the beginning.” The image is not his; it has been given to him. The artist is merely an instrument, as much as his brush or his hammer. The image is working through him, in its task of revealing itself to mankind. The image that senses beyond understanding. The moment the image is known it becomes static. That is why images always transcend the meanings that we apply to them.
Every person who is trying to express himself through the medium of images, manages to express partly what for him an experience, but also finds himself unable to express a great deal. The image is itself only a pointer, for it is something dynamic on the move.

1.3.2 Art as a Medium of Proclamation
Sacred art has provided a source of inspiration for the Christian community from early days in its history. The third century ‘house church’ at Dura Europos (Syria) a neighborhood home renovated for the liturgical need of the local community, included wall paintings. The baptismal room of this house contains one of the earliest images of Christianity, a scene of Christ’s healing of the paralytic. The wall paintings at Dura Europos is no mere an illustration of a biblical text, but rather an image that breaks open for the believer something of the awesome power of Baptism. The healing of the paralytic took place at a pool by one of the Jerusalem gates and was a demonstration of the forgiveness of sin. Since in baptism sinners are forgiven, this healing scene is appropriate for a baptistery, visually establishing the link between baptism and healing and forgiveness.
The images of Christ of this time were never portraits of what he looked like. Instead they tell us something about who he was, what kind of a person he was. Among the most frequent representations was Christ as good shepherd, reminding the believer that Christ is the pastor who looks after his flock in all times and places. In times of persecution of the Christian community, it was important to have images that reminded the people of God’s fidelity and God’s presence. Representation of the moments when God intervened to save the Israelites, such as Moses striking the rock in the desert, Noah and the ark, or the crossing of the Red sea reminded the Christians of God’s fidelity through all generations of their ancestors reassuring them that God would continue to be present to them
Art helps to proclaim the Gospel by depicting Biblical narratives, as well as Biblical themes. In other words images supplement the inspired word of the Bible, bringing home to people the Truth which the Bible proclaims. Images are easier to absorb than discursive propositions and help the mind to retain the messages of the Bible. Another way of putting it would be that sacred images help to instruct, make the events of the Bible visible, comprehensible and tangible to simple people who may not find it easy to read the Bible.

1.3.2.1 Sacramental Nature of Art
Art helps, through sacred images, to make Christ present to his faithful. Art does not only represent; but also presents. It draws the mind into the Divine milieu. The image is sacramental, in that it becomes a channel of Grace. Art celebrates the incarnation, because it not only depicts what has happened in the past but also through the images it helps us feel that Christ is present among us today. He lives and moves with us in our own lives, and this we realize through our imagination and through our capacity to see the Christ-likeness of our fellow human beings. This is the basis, properly speaking, of art in the sense of inculturation, be it an Asian Christian art or an Indian Christian art. Christ is depicted an Indian not because he historically was an Indian, not because the Bible has any connection with Indian literatures or religions but because the Christ whom we worship continues to be incarnated and present in all the cultures of the world. We meet Christ in those whom we love, and in those whom we are called to serve.

1.3.2.2 Prophetic Role of Art
It is essential to draw a distinction between a tradition, which can often be limiting, and a creative act, which is prophetic and challenges what is outmoded or what serves the selfish interest of a dominant group. Christianity has been characterized by a message directed primarily to those who are marginalized and oppressed, offering new signs of hope. Asian Christian art, as it has blossomed in the recent times, expressed both a longing for liberation and a recognition of cultural and religious diversity which is very much a feature of Asian societies.

1.3.3 Proclamation through art in India
India has a rich cultural heritage in the realm of painting, architecture, sculpture, dance and music. Christian art, like theology and liturgy, has for centuries been imported from abroad. But art remained a powerful force to express the faith from the ancient time. Now it pertains to the local Church that it spontaneously expresses its faith in local art forms.

1.3.3.1 Ancient Period
In ancient times the Christian community of Kerala possessed churches in the architectural style of Hindu temples, but nothing of that remains today. With the arrival of the Portuguese church architecture underwent strong European influences. When Robert De Nobili built his church in Indian style in Madurai he was criticized by many of his companions. In the life time of Francis Xavier, a Portuguese was sent to Goa to paint salvation history from creation to the last judgment. The paintings were taken to the Fishery coast, probably to Tuticorin, where they were like a book from which one could learn the faith.
The Jesuits in the Mogul domains made much use of Christian art as a means of evangelization. Thus, in Lahore and Agra, the exhibition of the crib and religious pictures, especially Madonna attracted thousands of Muslims and provided an occasion to instruct them in the Christian faith. Likewise, the Christian pictures in the albums of Akbar and Jehangir were served as medium for religious discussion with the emperors. In Goa too such pictures were a means to explain the Christian faith to Hindus. Christian art served the same purpose among the rulers of Vijayanagar.

1.3.3.2 Jesus in the Eyes of Non-Christian Artists During Modern Period
The influence of Christ and his Gospel on Indian political and social leaders and its role in India’s renaissance and freedom movements are quite manifest in the works of many Indian artists both Christian and non-Christians. R.W. Taylor observes, “For several decades ending in the 1960s almost every Indian painter of note painted pictures of Jesus.” Artists other than Christians while painting Christian themes, found Christ motif as a powerful means to communicate the values of desire for justice, compassion and selfless sacrifice. They found a profound insight in the suffering of Jesus for justice and love. Mahatma Gandhi inferred in Jesus the image of a perfect satyagrahi. Jesus represented the oppressed Indians rather than the oppressing colonialists in spite of their being Christians.
The theme of agony of Christ has been central in the works of many Hindi artists. Bengali artists Arup Das was fascinated to express the misery of humanity in the image of Christ. Another well known artist from Calcutta, Nikhil Biswas found Christ essentially a human being in whom there exists a challenging contrast between innocence and goodness of humanity, and the ignorance and falseness of mankind; the message of Christ emanates from this contrast.
The commonality, which we find in the Hindu artists on Christian themes is the focus on the suffering of Jesus. Where mass poverty exists and teeming millions suffer cruel deprivation and exploitation, Jesus’ suffering is charged with realism and hope and hence it embodies liberative content and intent. “Jyothi observes that Christian artists who were influenced by the renaissance Bengali school art depicted Christ as a sannyasi or a high caste Indian. But Hindu artists stressed Jesus’ humble origin, because this is, for them, something very unique which distinguishes Christ from Buddha or Krishna. For these painters Jesus is not merely as accomplished man but ‘Jesus is Lord’ though they were not converted to the Church.”

1.3.3.3 Contemporary Christian Artists
There are a number of artists, who can be called Christian artists for their contribution in spreading the Gospel through their artistic creativity. To name a few: Frank Wesley, Vinayak S. Massji, Angelo Da Fonseca, Marcus Toppo, S.S Bundellu of Bombay, Sudhir Bairugi, Sr. Genevieve, Sr. Clarie, F.N. D’Souza, Jyoti Sahi. Fr. Joy Elamkunnapuzha, etc
Sr. Genevieve, Sr. Clarie and Jyoti Sahi are most celebrated contemprary artists of our time. Sr. Genevieve’s and Sr. Clarie’s woks are well appreciated and accepted throughout India. Paintings of Sr. Genevieve have been the most popular ones among Christian forms among Christian painters. The images and settings of her pictures are throbbing with Indian spirit and sentiments. Sr. Claire has produced a number of Christian pictures which are brimming with joy, simplicity, harmony and lucidity. They are thoroughly Indian in their frame, ambience, spontaneity and emotion. The tenor and flair of her pictures are charged with bhakti (devotion) the scenes of singing, dancing and offering flowers are fluid and spills with naturalness and harmony in the movement of adoration and dedication.
Jyoti Sahi is not only the most cerebral of Christian artists but one who has produced works that vibrate with a strength and vitality. The most significant out put of Jyoti has been his research and experiment with regard to possible Christian uses of symbolism both in general, and in particular of Hindu symbolism. The NBCLC at Bangalore, with its chapel and the grilles of its windows, is a great monument of his artistic conceptions and creativity.
One of the most talented and contemporary church artists is Fr. Joy Elamkunnapuzha CMI. He is a full-fledged artist, an adorer of art and an insightful genius. Fr. Joy has paved the way for a new method of theologizing, that is to say, doing theology through sketches and colours. Fr. Joy’s lines and sketches speak louder than the written words; they are expressions of deeper mysteries of God manifested through various images and icons. He has designed many worship centers at various parts of India in an incultural artistic style. One of the best examples of his artistic style is the chapel of Ashta. Khrist Premalaya mandir, the chapel of Madhya Pradesh Regional Theologate at Ashta is one such creation by the artist that invites those who enter it to deep God experience and theological reflection.














Chapter 2
PROCLAMATION THROUGH ART AT KPRT CHAPEL

Art is a powerful medium of proclamation. From the very beginning Christian faith expressed itself not only through preaching alone but also through various art forms. Christianity as faith has always interacted with the world of other religions and cultural traditions. This interaction helped the Church to proclaim her faith through the art forms of local cultural and religious traditions. A typical example of the Church proclaiming her faith through Indian cultural and religious art form is the chapel at Khrist Premalaya Regional Theologate, Ashta. This chapter concentrates on how Christian message and Indian art blend together in the art and architecture in the chapel of Khrist Premalaya Regional Theologate.

2.1 Establishment of Khrist Premalaya Theologate
The context of a priest’s life and ministry in North India is difficult and poses different challenges. Here, Catholic communities are small and scattered and we live in a muti-religious and multi-cultural context. Most of the people living in the rural areas of North India are economically and socially backward and exploited by the rich and the powerful. Literacy levels are below the national average. Further, the region has experienced much communal tensions and growth in fundamentalist attitudes. To turn these challenges into opportunities and to adopt priestly formation to the pastoral and evangelization needs of the area in which the ministry is to be exercised, the bishops of Madhya Pradesh decided to set up their own seminary. The seminary was officially named, Khrist Premalaya meaning ‘abode or temple of Christ’s love’. The Theologate section of Khrist Premalaya was established at Bhopal in July 1982. A short time later it was shifted to the outskirts of Ashta, then a village, 85 kilometers from Bhopal towards Indore.

2.1.1 Khrist Prem Mandir (Chapel)
At the centre of the seminary campus stands the magnificent and beautiful seminary chapel ‘Khrist Premalaya Mandir,’ which is unique in its style and embodied with a lot of theological and Biblical symbols proclaiming the Christian truth and theology in its universal dimension. The chapel was built in the year 1990 during the tenure of Fr. Louis Maliackal as the rector. This architecture is the brain child of a well trained artist, an adorer of art and an insightful genius, Fr. Joy Elamkunnapuza. The name ‘mandir’ means gladdening. The very use of the name mandir shows the initiative of the Church to draw on, and to express herself in the Indian culture. Integrating the various cultural, architectural and artistic elements of India, the mandir proclaims the Christian universality.
Khrist Prem Mandir is a carefully and meticulously designed house of God for the seminary. The purpose in the construction of this structure is to incorporate into its very imposing style the architecture of the four major religions of our nation namely Hinduism, Islam, Buddhism and Christianity as well as the tribal cultural elements aiming to present a fitting environment for a culturally oriented formation of the formees so that they in their turn will be able to appreciate and promote genuine cultural and religious harmony in our fragmented human society. The elements of the supernatural or the transcendental can only be glimpsed and experienced by certain signs and symbols. It is with this view in mind that good many symbols and signs are employed in the very construction and finishing touches of this Ish Mandir.

2.2 Profile of the Artist
A full-time professional artist, and adorer of art and an insightful genius that is the essence of Fr. Joy Elamkunnapuzha. His great love for art at times makes him an ‘absconder’. As one without a permanent address, this lover of art moves around making the world his home. As one blessed with insightfulness, he creates every time lines and colours with rare novelty and freshness.

2.2.1 Brief Life-Sketch
Fr. Joy Elammkunnapuzha was born on March 18, 1945 as the sixth child of Mr. Joseph and Mrs. Annakutty at Nijarackal in Kerala. His inborn talent as an artist was evident from his early days. In school days whatever his friends brought to him some pictures, he drew them to their heart’s content. Deeply religious as a child, Fr. Joy entered the Congregation of Mary Immaculate and was ordained a priest in the year 1973. He maintained very little encounters with the family, once he joined the religious life. Fr. Joy is a person of simple living and high thinking. He believes that the measure of contentment is much more in willful renunciation than in accumulation of goods. A vagabond, Fr. Joy has very little articles of personal use; a carry bag can contain all his mundane belongings. He lives just like a recluse totally detached from worldly affairs and attached to God.
He has great knowledge and great ideal, but he keeps himself away from publicity. After completing his work he never attends the inaugural function. He is a nishkama karma yogi, one who does the work without any selfish motive. He is a great philosopher cum artist, fully dedicated to his mission, living only to create a new horizon where all the religions are brought together and presented in a beautiful form to give eternal peace to all.

2.2.2 A Unique Artist
Fr. Joy’s art works are influenced by his wide readings in philosophy, Hindu mythology and literature.
By designing worship centers at various parts of India in an inculturated artistic style, he has paved the way for a new method of theologizing that is to say, doing theology through sketches and colours. Just as the word speaks to people, so do the lines and sketches communicate to the beholders; they elevate the minds of believers and the non-believers. Joy’s lines and sketches speak louder than the written words; they are the expressions of deeper mysteries of God manifested through various images and icons. Joy’s creative works are in fact contributions to the Asian Church and culture at large.
Most of the art expressions of Joy are well understood by Indian mystic and Christian spiritual traditions. Through his art he has presented Christianity with an Indian touch. In his works he has brought the different religions together. He has got a very good knowledge of different religions therefore he could pick up the important symbols from different religions and presented them artistically and meaningfully. These symbols are not only mixed up but are woven together as the flowers in a garland. It is very difficult to say whether he has put Hinduism or Buddhism in Christianity or vice versa. The meaning of one symbol into the other is so smooth and spontaneous. By his fertile imagination he creates ever new expressions of the unseen reality.
Fr. Joy is an artist who never signs his art-pieces – His argument runs thus: “Artist must be known by their art”. His friends bear testimony that his artworks can be recognized without his signature. His master Shri. P. K. Dharmejwar, who taught him art at the intermediate level in Nagpur has this comment, “Joy is an extraordinary artist; he is a philosopher, and a ‘vairagi’ (recluse) who care not for any recognition or publicity. He is one of the first Christian artists I have ever found who brought Hindu art forms into Christian worship with depth and definiteness. I was suspicious about this delicate attempt into Christian worship, but Fr. Joy encouraged me with his natural frankness in chaste Hindi, “Ho Jayega” meaning that it will be accepted in course of time.”
Khrist Prem Mandir bears witness to his unique artistic style. It is a kind of sacrament or sign inviting and enabling the devotees to a transcendental experience as it is designed and created with artistic and symbolic richness.

2.3 General Outline of Khrist Prem Mandir
Rich motifs taking inspiration from Indian culture and religious symbols are made use of in the very architecture of the chapel. The inspiration behind the design of the mandir structure is ‘village setting’: a cluster of cottages, village pond, trees and the over looking gumbaj (dom) of the mandir. The triangular window shades present the hut-motif and the pond is at the entrance.

2.3.1 Ground Plan
The ground plan is in mahapurusa motif (symbol of the great man) the sanctuary representing the head, the wings forming the hands, the nave the body and the steps, the feet. The mahapurusa motif is taken from the construction of the Hindu temples. “The symbolism of the Hindu temple is a chess board pattern of dark and light squares, arranged as an underlying grid on which the various spaces of the temple are founded. Looking at the plan of the temple it is easy to see this grid or checker – board design, which is known as the mahapurusa mandala. According to myth, this underlying pattern squares is the cosmic body of primal man, who was sacrificed at the creation of the universe, and from whose fragmented form, all created forms arise.” The frontal dome majestically welcomes all to the house of God. The entrances through both the wings are crowned with small domes with symbols from Indian and Semitic religions.

2.3.2 List of the Art Works at the Chapel
(1) The three storeyed mukhamandapam (front elevation) with a crowning gumbaj and cross.
(2) Pavitra tīrtha and Tulsi plant at the Simhadvar (main entrance)
(3) Pāršva mandāpas (the two side elevations) depicting on its crown symbols of the Indic religions and symbols of Semitic religions.
(4) At the Simhadvar on both sides are the mural paintings in tribal art depicting two yātrās (journeys), the Exodus (Ex 12,37- 42) and Jesus’ triumphant entry into Jerusalem (John 12,12- 19).
(5) Six Rajsthani glass works on the windows depict the themes of Samskārās (seven sacraments) combining traditional Christian and Indian motifs.
(6) Triangular fibre-glass panels on the windows depict twelve symbols from world religions, both tribal and mainstream.
(7) The outside of the house of God is decorated in a village style with six art works on the windows depicting village people rejoicing and dancing.
(8) Vāc-vedi and Smrti stûpa are installed under two identical Urdhāvaranas (hoods).
(9) On the left side of the altar is the Vāc-vedi; a metal art work showing leaping flames (Ex 3,2) or sprouting seeds with letters on the leaves.
(10) The Tabernacle is installed at the right side of the altar on a Smrti Stûpa in which there are nine pictographs depicting God’s saving act in the history of mankind in the tribal art form.
(11) The stained fibre-glass panel on the front roof depicts the Trinitarian economy of
salvation. It also shows the man-woman face of God.
(12) At the background of the sanctuary (garhbagrha) is the image (murti) of the glorified dancing Christ, risen liberator, the conqueror of death (Mrtyunjaya Khristu)

2.3.3 The Tulsi Plant
In front of the mandir there is a Tulsi plant. The Tulsi plant has a lot of religious significance in the Indian tradition. Mostly, all the Hindu homes and above all in places of worship there will be Tulsi plant. Tulsi is a medicinal plant that has curative power for various illnesses. Tulsi at the very entrance of the chapel shows the sacredness of the place. This is also indicative of the fact that the sinful humanity needs the curative power of the divine to be set free from captivity to sin.

2.4. Mukhamandapam (The Front Elevation)
The facade with its frontal elevation can be called ‘mukhamandapam’. The three storeyed mukhamandapam, with a crowning gumbaj and cross, proclaims the majesty of the house of God. The frontal dome majestically welcomes all to the house of God. The entire frontal portion of this house of God is a beautiful combination of the major religious and Indian traditions.

2.4.1 Three Storeyed Elevation
The three storeys of the elevation in front denotes the progressive ascent of man to the immense and august dwelling of the supernatural or divine of which Gumbaj with the cross is the apex point. This type of architecture is common in the structure of Hindu temples. In the world of man, the temple functions as a symbol of ultimate enlightenment. The temple is also the product of the desire to transcend the world of man. “The movement upwards in the Hindu temples is both visual and symbolic, since it dominated the external appearance of the temple and is associated with certain ideas about the universe. The Hindu imagination supplies various associations with this ascent along an axis which is likened to a progression towards enlightenment, and the goal of this journey is identified with the crowning finale of the superstructure of the temple.”

2.4.2 The Cross
The cross above the ‘Gumbaj’ is the crowning point of the entire ‘mukhamandapam’. The cross is the distinguishing mark of Christianity recognized all over the world. The cross in the Bible symbolizes suffering and humiliation, the cross which was Christ’s way of life should be the way of life of every believer, who comes to this house of God because it leads to resurrection and glory.
The design of the cross over the dome is inspired by yoke and stem which is an integral part of day today life of the villagers. The Cross in the form of yoke an instrument of daily use of peasants and stem has a lot of significance as priestly ministry of the local Church is mostly oriented towards village apostolate. The more than fifty references to the yoke in the Bile speak of the wooden bar or frame used to join animals to enable them to pull a load. Two aspects of a yoke are important in these references. The yoke is an image of subjection, service or bondage or an image of linking. Most biblical references are figurative, and the largest category is the yoke as a symbol of political slavery to foreign king (Deut 28,48; Jer 27,12) or oppressive subservience to one’s own king (1Kings 12,4-14). This is very much applicable to the rural settings of our country, where the simple people are yoked by political bondage, social bondage, economic bondage, etc. People are desperately looking for freedom. Thus, an evocative image of freedom is breaking loose from the yoke of servitude (e.g. Gen 27,40; Is 9,4; 10,27; Jer 28,2-4; Ezek 34,27).
Here the cross is the symbol of freedom, a stem from which freedom emerges. Jesus calls us to carry his yoke, to be free from other evil bondages. The Cross is the way of life of Jesus. It is being subjected to him that all attain true freedom. “Take my yoke upon you and learn from me… and you will find rest for your souls. For my yoke is easy and my burden light” (Mt 11,28-30). Everyone is invited to carry the yoke of Jesus i.e. the cross. The empty cross i.e., a cross without the depiction of the figure of dying Jesus, symbolizes the resurrection of Jesus. Here the cross becomes the stem giving new hope to the people around.

2.4.3 The Bread and Fish
There is a depiction of bread and fish on the frontal elevation. Bread and fish are very familiar Biblical images that are referred to frequently in the proclamation as well as in theology.





2.4.3.1 Bread
“Bread is one of many biblical images, if traced through the canon, yields a picture of salvation history and biblical doctrine in microcosm.” Bread, made of either wheat or barely, was staple of the biblical diet. In addition to being food for human beings, bread belongs to religious ritual as well it is one of the things to be sacrificed to the Lord (Ex 29,2; Lev 2,4-16). But bread is even more a divine gift. For it is God who fills the hungry with good things (Lk 1, 53). This is why one gives thanks to God. There are many miracle stories in the Bible, where God feeds the people.
The bread of the Eucharist is also conceived as a divine gift. At the last supper, Jesus takes bread, says a blessing, breaks the bread and shares it with his disciples (Mk 14,22). Here the act of giving bread means that Jesus gives himself up on the cross on behalf of others. The bible’s most striking metaphorical use of bread appears in John 6. Here Jesus declares that he is the “bread of life” (v. 35; 33; 41; 48; 51). The bread that Jesus gives is not only life in present (Vv 35; 47) but also means eternal life (vv27, 40). Finally, Jesus associates himself as the true bread with the Eucharist: Unless you eat the flesh of the son of man and drink his blood, you have no life in you.” (v.53)

2.4.3.2 Fish
The fish is an ancient Christian symbol, found among catacomb graffiti, symbolizing Christ and was used as a sign of mutual recognition among Christians. The first letters of the Greek phrase “Jesus Christ, Son of God, Saviour” speaks out the Greek word for fish, i.e. ichtys. The water in which the fish live is generative of life and indicative of cosmic relationship of all things.
These two symbols depicted at the entrance of the chapel proclaim that it is God who takes care of His people and it is He who feeds them. The bread of life Jesus, who gives the eternal life, is present inside in the form of the Holy Eucharist.

2.4.4 Inscription of the Sacred Phrase
The sacred phrase ‘khristam saranam gacchāmi’ meaning ‘I go to Christ as refuge’ is inscribed on the frontal elevation. The origin of this text is from Buddhism. In Buddhism the key expression of commitment to Buddhism is taking refuge (Buddham saranam gacchāmi). This is one of the three ‘Tiratana’ or three jewels namely ‘buddham saranam gacchāmi; dhammam saranam gacchāmi; sangham saranma gacchāmi’ meaning ‘ I go to the Buddha as refuge, I go to the dhamma (holy path) as refuge, I go to the sangha (order) as refuge’. Orientation towards these three guides to a better way of living experienced as a joyful haven of calm, a firm island amidst flood, in contrast to the troubles of life. The notion of ‘refuge’ here is not that of a place to hide, but of something the thought of which purifies, uplifts and strengthens the heart.
The Pali canon affirms Buddha as “Thus he is the Lord; because he is an Arahat, perfectly and completely Enlightened, endowed with knowledge and (good) conduct, well-gone (to Nibbana), knower of worlds, an incomparable charioteer for the training of persons, teacher of god and humans, Buddha Lord”. The ‘Buddha’ referred here is primarily Gautama, but it does not refer only to Gautama. Thus, we find the inscription ‘khristam saranam gacchami’ instead of ‘Buddham saranam gacchami’ at this chapel. Here Christ is the Lord who is completely enlightened, endowed with knowledge and good conduct, and it is by taking refuge in Christ that one’s life becomes meaningful and he attains salvation.

2.4.5 Emblem of the Seminary
The emblem of the seminary is inscribed just above the sacred phrase on the mukhamandapam. The vision of the seminary is being presented in an art form through this emblem. The emblem enshrining the ideals of the seminary: Khrist Premalaya would mean ‘abode or the temple of Christ’s love’. The inmates are called to experience the depth of Christ’s love and in turn impart the same to others as its authentic apostles. In this sense, each seminarian is to become the symbol or sacrament of Christ’s love - each a KHRIST PREMALAYA himself.
The cross at the center of the emblem stands for love of Christ. The frame of the emblem encasing the cross symbolizes the seminary building in its simple cottage model with asbestos roofing. ‘Option for the poor’ means essentially option for the cross - for the humble and harsh realities of life. The outer frame of the emblem originates from the cross and culminates in the leaf of a papal tree, a tree of divine wisdom and enlightenment. Pipal leaf in its triangular shape stands for the Trinitarian mystery of salvation, eternally hidden in the bosom of the Father, but revealed in the person of Jesus Christ at the end of times (Eph 1,3-12). Thus, the emblem signifies a double movement – the Trinitarian love flowing outwards and being made manifest in the love of the crucified Lord; human love being purified and elevated by Christ’s redeeming love, eventually returning to its source, the Trinitarian love.

2.4.6 Pavitra Tīrtha (Water Ponds)
At the simhadvar (main entrance) is the pond containing tīrtha jal, a symbol of purification for those who enter the mandiri i.e. an initiation to purify themselves before entering God’s presence. Keeping pavitra tīrtha has its influence from various religions. Purification of oneself before entering into sacred place is common to many religions. In Hinduism in front of the temples, especially in south Indian temples, we have the great temple tanks which relate bathing to the significance of entering into the temple. The water pond has it inspiration form Islam too. The one who enters the holy place has to purify oneself before being admitted to for Namaaj. Jewism too has ritual washing as we find in the Old Testament where God told Israel to cleanse themselves before entering into covenant at Sinai.

2.4.6.1 The Aspect of Initiation
Water is connected to the door in its aspect of initiation. Most religions choose water as the medium in their initiation ceremony because it is life giving and death dealing. Water is very essential for life but at the same time it can be also source of death. Every religion has this concept of water as life giving and death dealing. In Judaism Mickav water is considered to be both womb and tomb. It is tomb because something dies. It is womb because something new emerges. Thus, the pond at the entrance of the Khrist Prem Mandir containing the sacred water is a symbol of means of purification from sins and filth and dying of the old self and becoming a new person before one enters into the house of God.

2.5. Pāršva Mandāpas (Side Elevations)
There are two side elevatons (mandāpas) above the side entrances, one on the right and the other on the left. The mandapam at the pāršva dvậr on the right side, depicts on its crown symbols of Indic religious symbols especially the Lotus, symbol used in Buddhism and Hinduism. And the mandapam at the pāršva dvậr on left side, depicts on its crown, symbols of Semitic religion the crescent moon and the star, a symbol mostly used by Islam.


The main thrust behind the presence of various symbols is to proclaim the truth that all religions are ways that lead us to God, to His divine presence, which is very much in line with the spirit of Second Vatican Counicl. Religion is an experience of the eternal. It is a search for the Truth. Thus, all religions are different roads leading to the holy of holies. Pre - Vatican Church failed to notice any positive element in other world religions. But originally the apostles are reported to have appreciated all that was positive in other cultures and religions. Any sincere seeker of God must acknowledge positive elements, wherever they are found. For the apostles positive element in other religious tradition became the background for their preaching. For St. Paul the shrine of unknown God in Athens becomes the background for his preaching. Outright rejection of any religion would question one’s identity as sincere seeker of God. Second Vatican Council clearly explains this in the document Nostra Aetate. Nostra Aetate insisted upon the essential unity of the human race, based on the fact that all men and women have God as their ultimate Goal. By taking this common point, the Nostra Aetate considers all religions as expressions of the human search for truth. Then it implies, that the both moral and the religious aspects of any religion may be acceptable as means of salvation. Thus, the Catholic Church acknowledged as legitimate both the search for God by those outside herself and the kernel of truth in non-Christian religions. In this respect, the Nostra Aetate states, “The Catholic Church rejects nothing of what is true and holy in other religions she has a high regard for the manner of life and conduct, the precepts and doctrines which often reflect a ray of that truth which enlighten all men.” This beautiful understanding of the Church about other religions is translated in to reality in the pāršva mandpam (side elevation) of Khrist Prem mandir

2.6. Biblical Stories in Mural Paintings of Tribal Art
At the main entrance, Simhadvar, on both sides are the mural paintings in tribal art depicting two journeys, the Exodus (Ex 12,32-47) and the triumphant entry of Jesus (Jn 12,12-19) into Jerusalem.

2.6.1 Significance of Tribal Art
The mural paintings depicting the two great journeys in tribal art has special significance. Visual anthropologists hold that culture is manifested through visible symbols embedded in gestures, ceremonies, rites and rituals, art, music and dance. The arts express the cultural trends and achievements of a people, even of primitive people. “Among some of the original communities like the Warlis, Bhils, Rathwa, Gonds, Santals, Saoras, Oraons, Chodharies and Nagas, paintings and drawings are very common activities; their houses, floors, utensils, textiles, pottery, tools and implements are decorated spontaneously by making use of available materials.” The wall painting at the entrance of the chapel is inspired by the Gond art. The wall decorations and the wood carvings in the houses are distinguished feature of Gond art. “Wall painting on the verandas of Gond houses and their paintings for Bhimula pennu were quite impressive, although those were lacking in perfection and finale. The background of the paintings was of smooth dark earth, only rarely smeared with cow dung, but sometimes washed with a red clay against which designs stood out sharply.” The later style is followed in Khrist Prem Mandir.

2.6.2 Two Journeys and their Significance
The Exodus (Ex 12,32-47) was a journey into freedom and the triumphant entry of Jesus into Jerusalem was the beginning of His journey to Golgotha, which opened the doors of heavenly Jerusalem to the whole humankind. Portraying of these events on the front wall has some special motives.

2.6.2.1 The Exodus
On the right side of the main door the scene of Exodus (Ex 12,3-42) is drawn. Moses holding the staff leading the Israelites along with their possession is beautifully portrayed. And the presence of YHWH, the journeying God is being symbolized in the picture of Ark of the Covenant. The Exodus journey is the liberation of Israelites from slavery in Egypt. The English word Exodus is derived from the Greek word εδοδυδ meaning departure. The event of the Exodus is one of the defining moments within the history of the people of God. Both for those who were led out as well as for all subsequent generations of Israelites. It is cited repeatedly throughout the Hebrew Bible as evidence of God’s intervention within history. It is in the exodus event that God’s nature as one who saves God’s people form slavery and oppression is defined. For God here takes sides; against the oppressor and for the oppressed. It is in the context of oppression of the slaves in Egypt that God reveals himself to Moses as the one who ‘heard their groaning’ (Ex 2, 23-25) “ I have heard them crying for help … And I have come down to rescue them… so now I am sending you to Pharaoh, for you to bring my people the Israelites out of Egypt” (Ex 3,7-10). YHWH is the God of the oppressed. He loves all including Pharaoh, but he loves preferentially the slaves of Egypt and He sides with them and delivers them from the oppressors.

2.6.2.2 The Triumphal Entry of Jesus into Jerusalem (Jn 12,12-19)
The second scene is depicted on the left side highlighting the triumphal entry of Jesus into Jerusalem (Jn 12,12-19). Jesus seated on the donkey is greeted by the people holding palms in their hand, spreading their cloaks in front of Jesus signifies the royal welcome he receives. The scene is very realistically drawn on the wall.

2.6.3 The Theme of Pilgrimage
The motive behind depicting these two journeys on the outer walls of the chapel is to remind the devotees that all are on a journey. This world is not permanent. All are on the move. Everyone in this world is on a pilgrimage. Every Christian is a pilgrim. Hebrews were a pilgrim people. The God of the Hebrews was a also a pilgrim God. The picture of the Ark of the Covenant in the drawing testifies it. In fact the Hebrew people thought of YHWH as going on before them, leading them into the future. When Solomon proposed to build YHWH a temple, as all the gods of surrounding people had, in which they lived like triumphant kings, YHWH objected. He sent a message to Solomon through his prophet, “Would you build me a house to dwell in? I have not dwelt in a house since the day I brought up the people of Israel from Egypt to this day, but I have been moving in a tent for my dwelling”. (2Sam 7,4) Thus Judaism had developed its own pilgrim center, the holy city of Jerusalem. The periodic pilgrimage of the Jewish people to their temple became very much the focal point of their search for a national identity and solidarity.
Christ himself is on a pilgrimage, moving with the people. Very much in the same spirit he said, “The birds have their nests, and the foxes their holes, but the son of man has nowhere to lay his head” (Lk 9,58). On the pilgrim road he sees the whole humanity - from the rich to the poor, the high caste to the outcastes. He understands the pilgrim road as a road created by people in search of their identity, of their roots. He also understands the pilgrim road as the opening of narrow horizons of a longing for deeper universality. Jesus’ entry into Jerusalem is a journey towards the cross. Jesus is always on the way to Calvary (Lk 9,51). So, those who are with him also are on the way to cross. It literally means walking with Jesus. Jesus takes all his disciples along with him. Therefore believers are always on the way with Jesus.
These two journeys remind the one who enters into the chapel that he/she is on a pilgrimage in this world. Human life is not something complete, realized or fulfilled on the contrary all are on a way to that final reality.

2.6.4 The Theme of Liberation
One of the reasons for drawing these journeys in tribal art is the theme of liberation. Both journeys led people to liberation. The exodus journey is the liberation from the slavery. The specific nature of the salvation described in the exodus account is of liberation from oppression and slavery. Jesus entering into Jerusalem is to accomplish the divine plan and redeem the people from the slavery of sin. Jesus enters the city of Jerusalem on a mission of salvation, indeed on a royal triumphant mission of salvation.
India is a country of class and caste inequalities. Within this general division cumulative inequalities based on caste and sex discrimination are particularly conspicuous. Very particularly the tribals are suppressed and exploited by the capitalistic society of India, where the poor has no voice. These two liberative journeys depicted on the wall remind the people that mission of every believer is to bring liberation to the oppressed and exploited people. G. Von Rad, defined the nature of the theology of the Hebrew Bible as a “history of salvation. If only this is accepted, the exodus event becomes one of the central acts in the Hebrew Bible, as it provides certainty not only of past salvation but also of salvation in the present and future for the people of God.” G. Guitierrez, a chief exponent of liberation theology, notes “Moses’ struggle is not only to achieve liberation for the people of Israel but also to persuade them of the extend of their oppression and their need to struggle against it. Thus, the account functions not only as an image of what God has done for the people but also a model of how people should behave in a situation of oppression. This involves becoming aware of the root of their oppression, struggling against it and looking forward to a future in which they can establish a society free from misery and alienation.”
Every believer who enters into the chapel is invited to work for this liberation, especially for the underprivileged people. Here Christian liberation is not merely a political or economical liberation but it is integral. It encompasses all the different dimensions of life; personal, social, political, economic, cultural, religious and all their inter-relationships. It is liberation from all the forms of bondage from personal and social sin and from everything that enslave the human individual and society. It is liberation for progressive growth, by being in communion with God and other human beings. “It liberates human beings, from injustices, fosters their integral advancement and disposes them to be children of God, i.e divinizes them.”

2.7 Rajasthani Glass Works on Seven Sacraments
Six Rajasthani glass works on the windows depict the themes of Samaskaras (Sacraments) combining Christian tradition and Indian Motifs. On the six side windows, the central portion built in brick-masonry and plastered providing an ideal place for these art works. Glass pieces are used in these panels representing the seven sacraments.
The word sacrament comes from two Latin words ‘Sacrare’ and ‘mentum’. Sacrare means sacred and mentum is a suffix meaning ‘that by which a desired goal is achieved.’ The sacrament in catholic theology is defined as “A sacrament is an outward perceptible sign instituted by Christ as an effective means of communicating divine life and intimate friendship with God.” The Catechism of Catholic Church speaks of Sacrament as “… power that comes forth from the Body of Christ which is ever-living and life-giving. They are actions of the Holy Spirit at work in his body, the Church. They are the master works of God in the new and everlasting covenant.” There are seven sacraments: Baptism, Confirmation, the Eucharist, Penance, the Anointing of the sick, Holy Orders and Matrimony. The sacraments are the sources of the divine life flowing into parched and arid soil of human soul. Through the sacraments one receives grace. Grace is sharing in the life, love and knowledge of God. The house of God is the venue where usually the Sacraments are administered. Through the sacraments one enters into deeper union with God. Sacraments are the windows by which one experiences and perceives the majesty of the Divine union. Thus depicting of the Sacraments on the window becomes all the more meaningful. These are depicted in a predominately Indian way drawing their vital power from the cultural character of the soil of our mother land.

2.7.1 Baptism
The first mural on the left depicts the Sacrament of Baptism. “Holy Baptism is the basis of the whole Christian life, the gate way to life in the spirit, and the door which gives access to the other Sacraments. Through Baptism we are freed from sin and reborn as son of God: and we become members of Christ, are incorporated into the Church and made sharers in her mission. Baptism is the Sacrament of regeneration through water in the Word.”
The first Sacrament, the Sacrament of Initiation, is beautifully represented through Indian Motifs. The banyan tree with its roots in heaven and branches and leaves growing downward is a symbol of this Sacrament. Life and grace growing down on to the earth is drawing its vitality from heaven. The tree is a symbol in Indian thought of birth. The tree symbolizes the force of mother life. “An ancient theme is that of a being coming out of a tree like a child from womb.” In the Sacrament initiation God generates his children as mother gives birth to her child.
Apart from considering the banyan tree as the symbol of life it is also the symbol of wisdom. Seated under it the yogi could attain enlightenment. Baptism is seen as the enlightenment. The symbol of banyan tree beautifully conveys this concept. Baptism is a process by which one is taken out of the kingdom of darkness into the realm of Christ, the light. “For once you were darkness, but now in the Lord you are light…” (Eph 5,8-14).
The roots of the banyan tree touch the cross erected in heaven, the source of life is the cross representing the risen Lord. It also symbolizes that Baptism is participation in the paschal mystery of Christ. “Do you not know that all of us who have been baptized into Christ Jesus were baptized into his death? Therefore we have been buried with him by Baptism into death, so that, just as Christ was raised from dead by the glory of the Father, so we too might walk in newness of life…” (Rom 6,3-11).
The water of Baptism, the symbol of participation and life flows down the branches and leaves of the banyan tree from a kamandalu (vessel) and enlivens and washes the people of God - men, women, people belonging to different cultures and traditions. Baptismal water is the womb and tomb of God. A believer has to be born again in the womb of God. In Baptism one dies to sin and rises again and lives with Christ. This death one experiences by self surrender and one experiences the burial under water. Flowing of the water over the people signifies burial under water. Depicting of people from various culture and tradition brings forth the essential unity spoken in (1Cor 12,13). “For in the one spirit we were all baptized into one body - Jews or Greeks, slave or free and we were all made to drink of one spirit.” The life giving water flows on to become a river (Ezek 47,1-6).

2.7.2 Confirmation and Anointing of the Sick
The two, Sacraments Confirmation and Anointing of the Sick, are represented in a single piece of work. The Catechism of the Catholic Church defines these two Sacraments in the following manner. “By the Sacrament of Confirmation (the baptized) are more perfectly bound to the Church and are enriched with a special strength of the Holy Spirit. Hence they are, as true witnesses of Christ, more strictly obliged to spread and defend the faith by word and deed.” “By the Sacrament of the Anointing of the sick and the prayer of the priests the whole Church commends those who are ill to the suffering and glorified Lord, that he may raise them up and save them. And indeed she exhorts them to contribute to the good of the people of God by freely uniting themselves to the passion and death of Christ.”

2.7.2.1 The Oil Jar
In both of these sacraments there is anointing of the recipient. This anointing is represented by two Oil-Jars placed at the foot of the cross on the side of the road leading heavenward. Anointing is Biblical and in other ancient symbolism is rich in meaning. Oil is a sign of abundance and joy. Anointing in the Bible is often a sign of the conferral of the Spirit. Anointing Sacred Chrism in confirmation is the sign of consecration. “By confirmation Christians, that is those who are anointed, share more completely in the mission of Jesus Christ and the fullness of the Holy Spirit with which he is filled, so that their lives may give off the aroma of Christ.” Oil has long been used for medicinal purposes, to promote healing and to soothe and comfort the sick. Oil is a sign of healing. The anointing of the sick expresses healing and comfort.

2.7.2.2 The Way
In the depiction people are on a journey on the road and the foot steps are inscribed. This depiction signifies that the people of God are on the move following the foot steps of the master who has shown the path and who has moved ahead of them to prepare the abode for them. “And if I go and prepare a place for you. I will come again and will take you to myself; so that where I am there you may be also” (Jn.14: 3-4). The stars around the path indicate that it is heavenward journey, and the spirit of God is hovering over the path. Confirmation is a definitive moment in the life of a believer where by one is confirmed in faith and moves forward in his heavenward journey. In the same way anointing of the sick is also a definitive moment in one’s life where one needs God’s graces and community’s support to face up the painful realities of life.

2.7.2.3 The Dove
The presence of Dove drawn on the way is the symbol of Holy Spirit. The image of the Holy Spirit on this mural work brings forth special function of Holy Spirit in these two Sacraments. The Sacrament of confirmation is in a special way the Sacrament of the Holy Spirit and its grace, the special gift of the Holy Spirit. The effect of the sacrament is the full outpouring of the Holy Spirit. The fathers of the Church have spoken of confirmation as the Sacrament of the fullness or superabundance of Holy Spirit. At confirmation Holy Spirit comes with his fullness, and that means with his gifts and charisms. “In confirmation the recipient is given a particular grace to be open to the operation of the spirit, so that there is a special turning to the Spirit to realize the promptings of the Spirit and perform the words of Spirit.” In the same way the Holy Spirit has a special function in the sacrament of anointing. The introduction to the rite describes the effect of the sacrament in terms of the grace of the Spirit. “The first grace of the sacrament is one of strengthening, peace and courage to overcome the difficulties that go with the condition serious illness or the frailty of old age. This grace is a gift of the Holy Spirit, who renews trust and faith in God and strengthens against the temptations of the evil one, the temptation to discouragement and anguish in the face of death.”

2.7.2.4 The Hand
The symbol of hand portrayed on the mural painting signifies laying of the hands in the rite of these two sacraments. The laying of hands is an ancient gesture that carries several meanings. “According to the apostolic constitution Divinae Consortium Naturae, “The laying of hand on the elect … is still to be regarded as very important, even if it is not of the essence of the sacramental rite.’ For ever since the Acts of the Apostles, Christians have regarded this gesture as a sign of the gift of the spirit.” The touching of the person is itself a source of comfort to one who often feels alone and isolated. It is a gesture Jesus often used to heal the sick. It is a gesture of blessing, symbolizing the prayer for the healing and strengthening of the sick person.

2.7.2.5 The Cross
The cross above the path refers to the abode of God. It also signifies that the sacraments celebrate the paschal mystery, the death and resurrection of Christ and invites those who celebrate to enter more fully into that mystery in their own life. “By the grace of the sacrament the sick person receives the strength and the gift of uniting himself more closely of Christ’s passion; in a certain way he is consecrated to bear fruit by configuration to the saviour’s redemptive passion, suffering a consequence of original sin, acquires a new meaning, it becomes a participation in the saving work of Jesus.”

2.7.2.6 Communitarian Aspect
Group of people traveling on the road not only speaks of a journey but it also loudly proclaims the communitarian aspect of these two sacraments. Confirmation is always a celebration of the Spirit in the Church. Baptism is concerned with the salvation of the individual; confirmation takes that individual and turns him outward with concern for the salvation of the world. The sacrament of anointing is the high point of the community’s prayer and care for the sick. In this sacrament the community gathers around the sick person, offering support and prayer. The Church seeks to minister to the whole person, praying for healing, offering comfort, strengthening the sick person’s faith and hope, and surrounding him or her with the love of Christ. The prayer of the Church supports the prayer of the sick, and the community invites them to unite their sufferings with the redemptive suffering of Christ.

2.7.3 Holy Eucharist
The traditional Christian symbols of chalice and the bread along with the branch of vine and the wheat corn clearly depict the sacrament of the holy Eucharist. Eucharist is the fount and summit of the life of the Church and sum and summary of Christian faith. It is a sacrifice of praise and thanksgiving of the Church and commemoration of the self sacrifice of Christ on the cross. Through this sacrifice graces of salvation are poured on the body which is the Church. It is memorial of Christ Passover, salvation achieved by his life, death and resurrection. It brings alive the saving acts of Christ: his self offering and offering of the humanity to the Father.

2.7.3.1 The Bread and Chalice
The bread and chalice in this work explains the essential Eucharistic faiths of the Church. The Church believes that the Eucharist is instituted by Christ himself in the last supper where he gives his body and blood to his disciples as food and drink of eternal life through two symbols, namely bread and wine.
At the heart of the Eucharistic celebration are the bread and wine that, by the word of Christ and invocation of the Holy Spirit, become Christ’s Body and Blood. Faithful to Lord’s command the Church continues to do, in his memory and until his glorious return, what he did on the eve of his passion: ‘He took bread….’ ‘He took the cup filled with wince…..’ The sign of bread and wine become in a way surpassing understanding, the body and blood of Christ; they continue also to signify the goodness of creation.



2.7.3.2 The Ear of Wheat and Grapes
The wheat corn and the wine branches sustain life and they remind the Christians not only of the Last supper and the supreme sacrifice of Jesus but also of the grain of wheat that must fall to the ground and die in order to be fruitful. “Very truly, I tell you, unless a grain of wheat falls into the earth and dies, it remains just a single grain; but if it dies, it bears much fruit.” (Jn 12,24) The grape wine which holds the grapes together is reference to Jesus’ words “A branch cannot bear fruit by itself; it can do only it if remains in the vine. In the same way you cannot bear fruit unless you remain in me”. “I am the true vine” (Jn 15,1). The symbol of vine branch emphasizes on the relationship between Jesus and his disciples. Since Jesus is the source of life the disciples must remain united with him in order to have life.

2.7.3.3 The Hearts Engraved on the Palms
Palms on which hearts are engraved reminds the faithful of the eternal love of Jesus for mankind expressed in this sacrament. “As the Father has loved me. So I have loved you, abide in me” (Jn 15,9) and the greatest kind of love is “that a man lays down his life for a friend” (Jn 15,13). This refers to Jesus’ sacrificial death which is an allusion to the Eucharist. Those who abide in Christ must have the same self-sacrificing love.

2.7.3.4 Eucharist, a Sacrifice
The Eucharist is a sacrifice. The Church has always taught that the Eucharist is a sacrifice. It is the sacrifice of the redemption and of the new covenant. It is a unique kind of sacrifice of the cross communicated to the Church. It is the same sacrifice as the sacrifice of the cross because in the mass the victim and the principal priest is the same Christ. This sacrificial aspect is powerfully brought out in this artwork through the symbol of hand nailed to a wooden piece (cross). Through the middle of the broken bread a hand extends down to a wooden piece and the palm is nailed to the wooden piece. This symbolizes the climax of Jesus’ ministry of doing the will of Father i.e crucifixion and death on Calvary. Jesus’ sacrifice on the cross is the culmination of Eucharistic mystery. Eucharist is the sacrament of the event of Calvary and not physical repetition. Then the saving action of Christ on Calvary is made present sacramental of in the mass which has efficacy among the believers.

2.7.4 Sacrament of Reconciliation
The meaning of the sacrament of reconciliation is beautifully represented in this panel by the motif of the sinful woman washing the feet of Jesus with her tears and wiping them with her hair (Lk 7,36-50). Sacrament of reconciliation is the sacrament of healing, where God wipes away the sins of the repentent sinner, who pleads for the mercy of God. “Those who approach the sacrament of penance obtain pardon from God’s mercy for the offence committed against Him, and are, at the same time, reconciled with the Church which they have wounded by their sins and which by charity, by example and by prayer labours, for their conversion.” It confers grace. It is the way by which, after baptism, divine life is restored to the penitents who have committed grave sin. The episode of sinful woman encountering Jesus is the typical example for the sacrament of reconciliation.
Three essential natures of sacrament namely forgiving love of God the Father, loving sacrifice of Jesus for the salvation of sinner and the salvific repentance of the sinner are clearly shown in the episode of sinful woman. The sinful woman washes the feet of Jesus with her tears, which is the external sign of her internal repentance and anoints it with the oil. Jesus, unlike the Pharisee, sees the inner reality of her and forgives her unconditionally. By depicting this episode on this mural painting the full meaning of the sacrament of reconciliation is brought out. The forgiving love of the father expressed in the loving sacrifice of Jesus and the salvific repentance of the sinner are clearly presented in this art work bringing out the full meaning of the sacrament of penance.

2.7.4.1 The Forgiving Love of the Father
The two hands filled with compassion with the intention of lifting the sinful woman is the symbol of the forgiving love of the Father, who forgives unconditionally. One offends God through sin. The loving goodness of God is offended by the sinfulness of human beings. By offending God human beings become helpless creatures before God, a fallen race. Thus he/ she becomes indebted due to the inability to rectify sin because it is the one who is offended who rectifies it. So, here God takes the initiative to reach out to the sinner. From the Christian perspective the sinner is not to be considered as criminal but a sick person who needs to be treated. The Sacrament of Reconciliation is a healing process where by the sick is attended to, wounds are bound and healed by the divine master, who is ever ready to receive the person.
It is the love of God that makes the person to repent. Conversion takes place in response to God’s love. The sinful woman experienced the love of God in Jesus which made her to fall at the feet of Jesus. Due to sin the human heart is heavy and hardened. God must give man a new heart. “Conversion is first of all a work of the grace of God who makes our hearts return to him. ‘Restore us to thyself, O Lord, that we may be restored!’ God gives us the strength to begin a new. It is in discovering the greatness of God’s love that our heart is shaken by the horror and weight of sin and begins to fear offending God by sin and being separated from him. The human heart is converted by looking upon him whom our sins have pierced.”

2.7.4.2 The Loving Sacrifice of God
The cross with the nail mark on them symbolizes the risen Lord from whom graces flow down to the sinner. It is Jesus Christ through his life, death and resurrection who reconciled us to God. Jesus’ main ministry was the ministry of reconciliation. Through out his life he forgave sin, he forgave even while dying on the cross. Even the sinful woman found forgiveness in Jesus as he said “Your sins are forgiven” (Lk 7,49). We are reconciled to God because of Jesus Christ who reconciled us to God. St. Paul is clear on this point: For if while we were enemies, we were reconciled to God through the death of his son, much surely, having been reconciled, will we be saved by his life. But more than that, we even boast in God through our Lord Jesus Christ, through whom we have now received reconciliation (Rom 5,10-11). The grace flowing from the cross like a river to the woman indicates that sacrament of reconciliation is the gift of grace, sacrament of salvation, gift of holiness and gift of life.


2.7.4.3 Salvific Repentance of the Sinner
Penitent woman anointing the feet of Jesus and wiping them with her hair is a sign of her repentance. The jar with perfume is kept at the side of the feet. Sin enslaves and weakness oneself. The woman at the feet of Jesus shows the helplessness and frustration of the sinner. The feeling of helplessness is the starting point of faith. Sacrament of reconciliation requires repentance, ‘metanoia’ coming back to God. “Unless you repent you will perish” (Lk 13,15). Repentance is more important for the sacrament of reconciliation. Christian repentance, penitence or penance is first of all a virtue, an interior force, a basic tendency in Christian existence which leads the sinner to detach himself from sin and destroy in him the force of evil. Interior repentance is a radical reorientation of our whole life, a return, a conversion to God with all our hearts, end of sin, a turning away from evil with repugnance toward the evil actions we have committed. At the same time it entails the desire and resolution to change one’s life, with hope in God’s mercy and trust in the help of his grace.

2.7.5 Sacrament of Matrimony
Although marriage is looked upon today by many as a purely secular contract, which can be made and unmade by the state, it is infact something sacred and religious because it has been instituted by God (Gen 2,22-24). God is the author of the marriage. Therefore it goes under the authority of God and not under the authority of man. The marriage of two Christians was viewed by St. Paul as something deeply sacred because he saw in that relationship a direct parallel to the love of Christ for his Church. Marriage being a divine institution does not limit its sacredness within boundaries of Christian marriage rather every marriage is sacred. Therefore the rich Indian symbols are made use in the mural work representing the sacrament of matrimony.


2.7.5.1 The Sacrificial Fire
At the center of the mural there is symbol of fire. In Indian tradition circumambulation of the sacrificial fire is part of the matrimonial rite. In Indian wedding the bride and groom are seated in front of the holy fire and the priest recites various religious sayings from the Holy Scriptures. According to the Hindu religion, fire is considered as the sustainer of life. It is believed that the gods and goddesses sit around this auspicious fire. The couple walks around the fire four times exchanging vows of duty and love, fidelity, respect and a fruitful union. The fire here is considered to be the fire of love and commitment, which melt the couple into matrimonial union.

2.7.5.2 The Puornakumbha (Urn of Fullness)
The Puornakumbha, which is considered to be divine and sacred by Hindus is aptly portrayed in the mural painting presenting the sacrament of matrimony. The Puornakumbha is placed with due rituals on all important occasion like the wedding, traditional house warming, daily worship. A Purnakumbha is a pot filled with water and topped with fresh mango leaves and a coconut. The pot symbolizes the mother earth, water is the life giver, coconut the divine consciousness and the mango leaves symbolizes life. The whole Puornakumbha symbolizes goddess Lakshmi and good fortune. The Puornakumbha (urn of fullness) symbolizes happiness and blessing for the newly married. The pot containing water is also a symbol of the fertile womb, and all that is stable and protective in nature which holds the force of life. The Puornakumbha brings out the one of the essential natures of the sacrament of matrimony i.e procreation. “By its very nature the institution of marriage and married love is ordered to the procreation and education of the offspring and it is in them that it finds its crowing glory.”
2.7.5.3 The Burning Hearts and Crucifix
The sacrament of matrimony is a sharing in the love of God, which is represented by a burning heart in which a man-woman face is inscribed. Love is the essential aspect of the marriage. The source of this love is God’s love which is a covenantal love. In the Vatican II, “Just of old God encountered his people with a covenant of love and fidelity, so our saviour, the spouse of the Church, now encounters Christian spouse through the sacrament of marriages. He abides with them in order that by their mutual self-giving spouse will love each other with enduring fidelity, as he loved the Church and delivered himself for it.”
Marriage is a community of love, an intimate partnership of life and of marital love (Eph 5,25). “Husbands, love your wives, just as Christ loved the Church and gave himself for her. Here, St. Paul presents Christ’s love as the model for the love between husband and wife. Christ’s love is self-giving and sacrificial. The cross on top of mural signifies the love of Christ, where he gave himself and sacrificed his life. This is the way the couple should love each other. Pope Pius XI in his encyclical Casti Connubi considering this as specific kind of love that preserve the marriage through life says that this special love is a constant mutual help in both the personal and domestic territories of life together; the second aspect of this love is constant working together; and the third aspect is growing together in love for God and love for other.
Gaudium et spes further describes marital love as fully and authentically human and their love involves and sees the good of the entire person . This love is not erotic, instinctive response. Instead this love leads to and expresses itself in the spouses by free and willing gifting of themselves to one another, in bodily expression of affection. So, it suffices all their selves and grows continuously. It is faithful and constant against all enemies both within and from outside and lasts for the spouses’ life time together. The burning heart with the inscription of man – woman faces is the best medium of expressing this love.
2.7.5.4 The Knotted Tips
In the Indian wedding ceremony the tips of the apparels of the bride and bridegroom are knotted. This knot represents their life long mutual commitment. Even in the Hindu marriages after walking around the fire for four times the bridegroom then places the bride’s hand on his forehead to denote the he accepts her as his wife for better and for worse, in health and in sickness and that it is his destiny to marry her. Then the couples heads are held together implying that although they are separate individuals, but from now onwards, they are one in body, mind and spirit. Marriage is a sacred bond, a marital covenant, a mutual gift of person. Christian marriage is not just a social function or contract between a man and a woman, but it is a sacrament. “The consent by which the spouses mutually give and receive one another is sealed by God himself,” and so it becomes indissoluable. Thus all marriages are intrinsically indissoluble by divine law. Marriage is the most precious relationship, because for its sake a man leaves his own parents and clings to his wife. At the marriages the husband and wife became one person: they become one flesh or body. Marriage is the indestructible covenant joined by God. So, what God has joined cannot be separated by man. Thus, marriage is a life long mutual commitment.

2.7.6 Sacrament of Holy Order
“Holy orders are the sacrament through which the mission entrusted by Christ to his apostles continues to be exercised in the Church until the end of time; thus it is the sacrament of apostolic ministry. It includes three degrees: episcopate, presbyter and deaconate.” The beautiful theology of priesthood is brought out in the art from through this mural art. Symbols and mudras (symbolic gestures) are made use of in this panel to bring out the full meaning of the sacrament of Holy orders.



2.7.6.1 Participation in the Priesthood of Christ
The cross held by the anointed signifies that the Christian priesthood is essentially a sharing or participating in the priesthood of Christ. “Christ, high priest and unique mediator, has made of the Church a kingdom, priests for his God and Father. The whole community of believers is as such, priestly. The faithful exercises their baptismal priesthood through their participation, each according to his own vocation, in Christ’s mission as priest, prophet and king. Through the sacraments of Baptism and confirmation the faithful are consecrated to be… a holy priesthood.” “While the common priesthood of the faithful is exercised by the unfolding of baptismal grace - a life of faith, hope and charity, a life according to the spirit, the ministerial priesthood is at the service of the common priesthood. It is directed at the unfolding of the baptismal grace of all Christians. The ministerial priesthood is a means by which Christ unceasingly builds up and leads his Church. For this reason it is transmits by its own sacrament, the sacrament of Holy orders.”

2.7.6.1.1 Cross, symbol of Service
The ministerial priesthood, which the Lord committed to the pastors of his people, is in the strict sense of term a service. The cross at the mural clearly testifies this fact that Christian priesthood is to serve like Jesus. The New Testament priesthood is only the actualization of the priesthood of Christ, who came consciously and deliberately not to be served, but to serve (Mk 10, 45) and willed in his community a hierarchy of service not of power (Mt 10,45ff) Vat II speaks of priestly ministry in terms of service, in fellowship words: “That office however, the Lord Jesus committed to the pastors of his people is in the strict sense of the term , a service , which is called very expressively in sacred scripture a diakonia or ministry.” Service in the Church is service of Christ in the realization of his diakonia or ministry. This service means to proclaim the good news to the poor and liberty to the captives and sight to the blind (Lk 4,28). When he serves the priest must be a man for others, through his preaching and action. A genuine priest must be self forgetful and people oriented as that of Christ who offered his own life for others on the cross. The cross here proclaims that priest is essentially a servant in the model of Jesus Christ.

2.7.6.2 Gifts of Holy Spirit
The symbol of dove on top of mural signifies the presence of the spirit and the gift of the spirit in the sacrament of Holy orders. “This sacrament configures the recipient to Christ by a special grace of Holy Spirit, so that he may serve as Christ’s instrument for his Church.” “The grace of the Holy Spirit proper to this sacrament is configuration to Christ as priest, teacher and pastor of whom the ordained is made a minister.” To list some of the graces of Holy Spirit configured in this sacrament is the grace of strength especially for the Bishop to guide and defend his Church with strength and prudence as a father and pastor, with gratuitous love for all and a preferential love for the poor, the sick and the needy. The priests are given the strength and made worthy of stand before the altar, to proclaim the Gospel of the kingdom, to fulfill the ministry of the word of truth, to lead the flock, to offer spiritual gifts and sacrifices and to lay down his own life for the flock, etc.,

2.7.6.3 Ministry of Proclamation
The open book with alpha and omega inscribed on its pages conveys the message that the priest is to proclaim the word of God. A hand with index finger is the symbol of the teaching authority conferred on the ordained. Preaching the word of God forms an extremely important part of the priest’s special mission. The apostles considered prayer and preaching as their primary duties. Paul says “Christ did not send me to baptize but to preach the Gospel” (1Cor 1,17). The good news is meant to be shared. It is the duty of every priest “For if I preach the Gospel that gives me no ground for boasting, for an obligation is laid upon me and woe to me if I do not proclaim the Gospel; for if I do this of my own will. I have a reward; but if not of my own will, I am entrusted with a commission.” (1Cor 9,16-17). It is an authority given to the apostles by Jesus himself. “Go therefore and make disciples of all nation … teaching then to observe all that I have commanded you” (Cf. Mt 28,19-25).
Lumen Gentium says that “Among principal offices of bishops the preaching of the Gospel occupies an eminent place.” As to the priests, in Lumen Gentium the sequence of offices is clearly stated: “They are consecrated to preach the Gospel, shepherd the faithful and celebrate divine worship.” Preaching the Gospel is the primary duty because preaching the word of God is inseparably linked with the priestly mission to sanctify the people. It is a means to sanctify the people. By the ministry of the word they communicate God’s power to those who believe unto salvation. (Rom 1,16).

2.7.6.4 Ministry of Shepherding
The conch shell stands for anointing and proclaiming. The conch shell being the symbol of anointing stands for the kingly office of the priest. Kings are anointed, in the same way priests also are anointed to lead the flock. They are to shepherd the flock entrusted to them. “I am the Good shepherd. The good shepherd lays down his life for his sheep” (Jn 10,11) Primarily the priest is called to be a pastor, a good shepherd. As a shepherd, and a leader of the community in the service of the kingdom, he listens to the people, inspires, encourages, empowers and enables. He must not be like leaders in the world, but different. It is not a matter of privileges, what he needs is concern for the well being of community and union with God in the name of people. Because he is at the service of the community, he respects people, their rights, especially those of the weakest; he is neither above nor independent of the community, at the service of his brothers and sisters regarding them as his masters.

2.7.6.5 Prophetic Ministry
The wide – open mouth at the center shows that a priest is a prophet denouncing the evil and announcing the good news. In the world where the voiceless suffer injustice, the priest becomes the prophetic voice to defend them. Every priest is to follow his master and lord who was a prophet both in word and action. Word is never meant merely as communication. The word awakes and transforms the lives of the believers and of all people. Priest is a prophet of God speaking in God’s name and with His authority, speaking about God’s Justice, mercy and building up what has been pulled down. What is demanded of a priest is that he be a priest like Jesus a prophet announcing the word of God. The priest takes initiative in raising the voices to demand justice for the people who are denied justice. He raises his voice against the evils of the world.
Sacrament theology can be written in volumes. But a piece of art is more impressive and expressive in conveying the meaning in a wide sense. It can speak to the learned and to the simple in a language, which has innumerable nuances. The language of art is intelligible to the child and to the adult. It conveys as much as can be assimilated by the one who admires at and enjoys it. These six panels on sacraments are the best examples for doing theology in art form.

2.8 Trinitarian Mystery on the Stained Fibre-Glass
The stained fibre-glass panel on the front roof depicts the Trinitarian Economy of Salvation. It also shows the man-woman face of the divine. Christian idea of God is Trinitarian; it tells us that God is a communion of three persons Father, Son and the Holy Spirit. “The God of Christian revelation is trinity from the beginning. God is the Father, the Son and the Holy Spirit who are in eternal correlation, interpretation and love to the extend that they form one God.” Trinity is a mystery which by its nature cannot be understood rationally but has to be felt and lived, as we experience the deeper realities of life. Trinity is the mystery Three-in-One, a diversity whose basis is a unity beyond our power to define. The trinity is one of the most dynamic and creative efforts in Christianity to understand to unity of God in term of diversity. Understanding of divine in three dimensional ways is not unique to Christianity. The other major religions of the world, viz. Buddhism and Hinduism also speak of triads in the divine through the notions of the Tri-Kaya , Tri-Murti respectively. The eminent theologian Raimundo Pannikar is of the opinion that this mystery of religious tradition differently expressed may be considered as a junction, where the authentic spiritual dimensions of all religions meet. “In the Trinity a true encounters of religions take place, which results, not in a vague fusion or mutual dilution, but in an authentic enhancement of all the religious and even cultural elements that are contained in each.”
The stained fibre-glass panel on the roof of the chapel tries to explore this great mystery of trinity. It is the Trinitarian idea of God portrayed in Indian art form with the feminine face. Presenting Trinity in Indian art form goes along with the argument of Raimundo Pannikar that a true and authentic encounter of religions can take place in the mystery of trinity. Another peculiarity of this art form is depicting God in feminine form. Like the mystery of trinity, this art work which tries to make intelligible the incomprehensive mystery of Trinity itself is a mystery giving new expressions every time we look at it.

2.8.1 Father
The ‘open eye’ is the symbol of God, the Father, the uncreated, who is uncontained and creator of the universe. It is the symbol of ever watchful presence of God who does not sleep, and He is ever active in the universe. He is the all knowing, all pervading, omniscient Father who pours out this grace through His son Jesus Christ and the Holy Spirit. The Economy of Salvation began with the creation, which is always attributed to the Father. The creative power is envisaged in the image by cosmic egg from where all creation brings forth. In Indian mythology, whether Buddhist, Jain or Hindu, we repeatedly find the idea of the cosmos as an egg of hirnayo garbha. This egg is also closely connected with the image of the womb. It is the fiery container form, from which the whole universe has been brought forth.

2.8.2 Son
Son is depicted through the symbol of palms one facing upwards and another downwards. In the Christian icons, the hand of God represents His will active in history. “The son is the word of God, the Son of God, our Lord Jesus Christ, by whom all things were made; who furthermore, in the fullness of time, to gather all things into himself, became man among men, visible and palpable, to destroy death, brings life and achieve a communion between God and man.” The hand facing upwards signifies that it is Jesus Christ who is leading us to God the Father, and the hand facing downwards signifies that it is Jesus Christ who brings grace and salvation from the Father. These hands also signify the divine and human natures of Jesus Christ. The marks and curve on both hands signify the suffering and passion that he underwent to bring salvation to the human beings. One can notice grace going out from both the palms. The eternal salvation is flowing from the pierced hand.

2.8.3 Holy Spirit
The Holy Spirit is represented by traditional Christian symbol of dove. In the Old Testament dove is the symbol of life and new life. According to Irenaeus in the fullness of time Holy Spirit was poured out in a new way on our humanity to make men new over the whole world in the sight of God. And the spirit is the one through whom the organization of whole universe takes place. The leaping flames around the Holy Spirit signify the presence of God. Fire is the symbol of holy presence and character of God (Deut 4,24; Heb 12,29). “For the Lord your God is a devouring fire, a jealous God; for indeed our God is consuming fire” (Deut 4,24). Fire is related to the Holy Spirit. On the day of Pentecost the Holy Spirit descended on the apostles in the form of tongues of fire. Fire has three fundamental functions. The flames (fire) give light indicating the knowledge and illumination that Holy Spirit imparts (Eph 1,17-18). Secondly, the spirit helps us to understand. Fire gives heat which has the power to warm the cold hearts signifying assistance of the Holy Spirit in evangelization and ministry (Rom 5,5). Thirdly fire gives power signifying the source of energy to proclaim courageously (Acts 2,3-4). The symbol of dove and leaping flames signify the person of the Holy Spirit and in its function in the history of salvation.

2.8.4 Feminine Face of God
The main thrust behind this stained fibre-glass panel depicting Trinity along with the face of woman is to show the man-woman face of God. God is usually understood in terms of masculine gender; God to be the Father. But the mystery of God is so rich that it cannot fully rendered in a single metaphor. God cannot be fatherly figure alone. He is both Father and Mother. Today there is a great need for a sense of the motherhood of God. God, as understood in India, is not only, God is mother too. In Indian tradition there is a greater significance for god as mother. In Indian tradition the symbol of power (śakt) is Durga; the symbol of wealth (Artá) is Lakshmi; the symbol of wisdom (Jňān) is Sarawati. Significantly, all these are female deities. In Christian tradition there has been very little recognition of this feminine aspect of God. Yet, God is both Father and Mother, and in the oriental tradition this has always been recognized. “Jugen Moltman in his recent book on the Trinity makes the interesting observation that early images of three in one were probably related to the image of God as mother.” Liberation and Dalit theologies might have influenced in this venture of associating a feminine face with the traditional face of God as Abba, Father. In this work all the three persons Father, Son and Holy Spirit are shown in one face i.e. a woman’s face in Indian motif. It is the Indianised version of Christian understanding of God as both Father and Mother.
In the early Greek Church, the Spirit was sometimes referred to as Sancta Sophia. In fact the greatest church of Constantinople was Hagia Sophia. And perhaps the motherhood of God could be brought out through symbolic icons of the Holy Spirit. This may be the reason why the artist has chosen to enjoin the symbol of the Holy Spirit along with the face of a woman. “It is a fact, however, that in the Bible the name for the spirit (ruah) is feminine and in the later Syriac tradition, which preserved the same name, the Holy Spirit was spoken of as a mother. There is also in the Old Testament the tradition of a feminine wisdom (Hebrew hochmah; Greek Sophia; Latin sapientia) which reveals the feminine aspect in God. It may be possible, therefore, to see in the Holy Spirit the feminine aspect of God in Trinity. “The source of Trinity is both the Father and Mother, the Son or word is the active principle of intelligibility, the source of order in the universe; the Holy Spirit is the feminine principle of receptivity an infinite capacity of love, which receives perpetually the out flowing of love through the son and returns it to its source in the father.”
Speaking of God in feminine form is relevant in the modern time. This sense of motherhood would also, perhaps, bring about a grater tolerance, a greater acceptance of diversity in the children of God. Faith dependent on the feminine divinity tends to be less dogmatic, emphasizing more communion, within the enclosing walls of a womb like love and protection. Hence, Fr. Joy is right in portraying the mystery of Trinity in man-woman face.

2.8.5 Concept of Unity and Grace
The Christian theology affirms the unity of the three divine persons. “In Trinity there is both diversity (Father, Son and Holy Spirit) and unity in this diversity (through the communion of the different persons by which each is in the others, with the others, through the others and for the others).” The idea of diversity is brought forth in the stained glass panel by depicting the three persons through three different symbols. The unity in this diversity is shown by a circle that embraces all the three. This idea is taken from the Eastern understating. “The eastern images have connecting pattern behind them. The diversity and proliferation of forms in Eastern art have been linked and unified by what Blake might call the ‘mundaneshell’ of an all embracing roundness.”
The idea of grace flowing from the Trinity is clearly brought out by the ripples going out from the center. Here in the stained-glass fibre-glass work on Trinity, the Trinity is in the circle itself operating together the work of salvation. But a close look at it reveals the portrayal of a sense of progression of going out, like the ever widening ring or ripple sent out in a pool of water, by a stone thrown in its center. This is the symbol of the Grace of God going out, and embracing more and more of the cosmos in the embrace of its unity. But this is a unity which does not deny diversity. Rather it is a unity of love and peace among all creatures.

2.9 Urdhāvarana
The sanctuary at Khirst Prem Mandir is adorned on the one side with the word of God (the Word of Life) and the other side with the tabernacle, the bread of life. The Vac-vedi (Bible stand) and smrti stūpa (tabernacle) are installed under two identical Urdhāvaranas (hoods) symbolizing eternal happiness enshrined in Vac (Word) and Bread (Blessed Sacrament). Urdhāvarana is a structure made on the wall having two identical pillars with the triangular roof on top of it.
This way of adorning the sanctuary with both the word of God and the Bread of life is done in the spirit of Vatican II. The Second Vatican Council’s constitution on Divine Revelation begins with these words, “The church has always venerated the divine scriptures just as she venerates the body of the Lord, since from the tables of both the word of God and of the body of Christ she unceasingly receives and offers to the faithful the bread of life especially in the sacred liturgy.” These words of the Council are realized at the BibleMandir. It is fitting to offer equal honour to the sapiential and sacramental presence of the word of God adorning sanctuary alike, with the enthronement of the Eucharist and the Bible, on either side.


2.10 Pictographs of God’s saving Acts on Smrti Stūpa & Tabernacle
Every space set apart for sacred purposes is essentially a place of ‘remembrance’. The sacred place calls to mind those events of history, which have led humanity to the present moment. On the right side of the altar is installed a Smrti Stūpa (Pillar of memorial). The Stūpa has nine plates engraved on it in tribal pictographs, and these are inspired by the Smrti Stūpa of the tribals of Bastar. The pictographs proclaim God’s saving acts in the history of humankind as described in the Bible, namely Creation (Gen 1,1-31), Deluge (Gen 8,1-19), Crossing of the Red Sea (Ex 14,1-3), Falling of Manna and Quails from Heaven as well as Gushing of Water from Rock (Ex 16,1-17,6), the Ark of the Covenant (2 Sam 6,1-19), Jonah (Jon 1,1-3,9), Incarnation (Lk 2,1-40), the Miraculous Catch of Fish (Lk 5,1-11) and Jesus’ Walking on the Water (Mt 14,22-32). On the Smrti Stūpa is installed the tabernacle which treasures the Eucharist, the Bread of Life, for it is the heavenward pilgrimage and the memorial par excellence of the saving Acts of God. Mangala Kalasam with a bird over it, dand carrying tirhta jal and lambs are symbols from popular religious traditions and are integrated into the whole art-work.


2.10.1 Eucharist as Memorial
The idea of Eucharist as ‘memorial’ (anamnesis), a strongly Biblical concept has become dominant after the Second Vatican Council. It has its root in the Old Testament. The memorial (in Hebrew Zikkaron) in ancient Israel was not merely a simple commemoration. It was a sacred sign given by God Himself to His people. And this sign given or pledge implied a continuity and permanence of the Mirabilia Dei, ‘God’s wonderful acts of deliverance’, for the sake of the people. The memory of past salvific events was the central part of Jewish berakah ‘long prayer of blessing’. “Memorial is a dynamic movement in two directions; It is naturally a reminder to the people of God’s unshakable fidelity to his salvific promises, eliciting from them a sense of profound gratitude (blessing - beratch) for favours received, but more particularly, the memorial is a reminder to God that He should not forget His promises in future, which in reality means a petition or supplication, constitute the core of the Biblical memorial.”
Eucharist is the memory of the entire life of Jesus Christ. Jesus said “Do this unto my memorial”, instituting the Eucharist. Eucharist as the memorial emerges as the memorial of the son offered to the Father by the Church. Eucharist is to remind God, the Father. Eucharist memorial is an essential movement directed to the person of the Father in thanksgiving for the past and in supplication for the future. The word of redemption for us continues only when God remembers. Eucharist is very much related to God’s work of salvation for us, because it is a reminder in front of God, presenting before God the salvation accomplished by Him, that He may also continue to accomplish the salvation for us. The above argument can be summarized in the following words of Joachim Jeremias, “‘In remembrance of me’ can then scarcely mean ‘that you may remember me’, but most probably ‘that God may remember me’. This means the command to repeat the rite is not a summon to the disciples to preserve the memory of Jesus and be vigilant but it is an eschatological oriented instruction; to keep joining yourselves together as the redeemed community by the table rite, that in this way God may be daily implored to bring about the consummation in the parousia.”


2.10.2 Smrti Stūpa (Memorial Pillars)
It is the custom of the tribals to keep the memory of their ancestors. The faithfully recall what their ancestors have done for them so that the ancestors may continue to help them. “The dead are always remembered or recalled at important events of life in the community; at sowing and harvesting, drinking of liquor, important events of life cycle, to protect them from wild animals, famine, drought, to be successful in hunting and fishing and dancing.” They are considered to be the custodians of law, convention and rules of conduct.
Different tribal communities follow different art forms to keep the memory of their ancestors. It is the practice among the tribals of Bastar to keep the memories of their ancestors on Stūpa. These Stūpas are known as Smrti Stūpas. The pictographs on the smrti stupas of the tribal people do the function of memorial. They are images and symbols of certain objects from the lives of ancestors related to their life-contexts like agriculture, hunting, music and dance, etc. These pictographs are therefore great reminders for posterity that they may remember the dead forefathers with gratitude and supplication for all their great lives. They also have the implicit faith that these ancestors keep the memory of good or bad life of people and accordingly give reward and punishment for it.

2.10.3 Memory Pillar at Khrist Prem Mandir
The Smrti Stūpa of the BibleMandir with its pictographs silently proclaim to the worshippers the great acts of God (mirabilia Dei) in the past in favour of his people, brings forth the truth that Eucharist is the remembrance of the greatest of all saving acts of God for His people. Both pictographs of the mirabilia Dei on the pillar and the Eucharist bread in the tabernacle are ‘unto God’s remembrance’ (anamnesis), which He may continue to remember His promises till the end of time. Thus, the artistic representation of Eucharist as anamnesis fits well with the biblical data as well as theological reflections on the same. The following are the saving acts of God depicted in the memorial pillar.


2.10.3.1 Creation Account (Gen 1,1-31)
The first act of God’s saving action is creation of the entire universe including the human beings. This plate portrays the creation as account described in the book of Genesis (Gen 1,1-31). The whole episode testifies that it is God who created the entire universe. The figure of God engraved in a human form at the center of the plate with the raising hand clearly proclaims this fact. And He is surrounded by all created things. The sun and moon signify the day, night and also the sky (Vv.16-19). The earth is filled with vegetation, animals, birds, mountains (Vv. 20-22) and sea with its creatures like fish (Vv. 24-25) etc, show the creative work of YHWH, which He accomplished within six days. The crown of creation are the human beings -Adam and Eve- who were created in the image and likeness of God, are depicted together holding each others hand. The similarity in portraying God and human beings proclaims the truth that human beings are indeed created in the image and likeness of God, the creator (Vv. 26-27).


2.10.3.2 Deluge (Gen 8,1-19)
The story of deluge as narrated in Genesis tells us that God destroyed the human beings for their wickedness, but He did not allow the entire human race to perish in the water of deluge, rather He selected Noah and his family and the pair of animals and birds in order to save the entire universe from total destruction. This saving act of God is depicted in this plate. This plate is divided into two parts. In the first part, Noah’s ark is seen on the water. The atmosphere of the scene shows that the rain had already stopped and water began to subside. This is expressed through the symbol of wind blowing over the water. It is written that God made the wind to blow over the water and water subsided (Vv. 1-3). There is a symbol of a mountain surrounded by flames, which can be interpreted in two ways. Firstly, it can be interpreted as mountain of Ararat, where the ark came to rest (Vv. 4-5). Secondly, we can interpret it as the presence of God. The symbol of the palm facing outside engraved on the other side is a gesture which is to be found in Indian imagery. “In the art of mudra it is known as the ‘abhaya mudra’ or the ‘do not fear’ mudra’. Figures of Buddha, Visnu or Siva invariably show this gesture. It could be described as a gesture of blessing, but also conveys the sense of halting, calling attention, commanding.” In this pictograph it means the presence and blessing of YHWH.
The second part displays the figure of Noah along with his three sons Shem, Ham and Japhet rejoicing, praising and thanking YHWH together with the animals for saving them from the deluge. The figures of plants around them show the new life emerging after the deluge.

2.10.3.3 Exodus and Crossing of the Red Sea (Exod 3 & 14,1-30)
The most significant saving act of God in the life of Israelites is the Exodus, their freedom from their slavery to Egyptians and their subsequent journey towards the Promised Land. This pictograph displays the commissioning of Moses and the crossing of the Red sea by the Israelites. The first part of plate depicts the Theophany of YHWH to Moses on mount Horeb, where He commissioned him to lead the people of Israel out of Egypt and also He revealed His name as ‘I am who I am’. The picture of burning bush in front of which there is a kneeling figure with a staff in his hand and surrounded by his flock clearly brings forth the episode of Moses at the burning bush described in the book of Exodus chapter three.
There are two sections in the second part depicting the crossing of the Red sea. The figures such as man on a elephant, a horse man, man with a staff, ox and people carrying some material showing the freedom journey of Israel in the wilderness (Ex 14,1-3) and the chasing of Egyptian army led by Pharaoh (Ex 14, 4-8). The man with the staff resembles Moses leading the people of Israel who are shown as journeying forward with their belongings. The Horse man and the man on an elephant are the signs of the Egyptian army. At the end of the plate the defeat of the Egyptians is shown by the image of an army being engulfed and drowned by the sea. God saved the Israelites by dividing the sea and leading them safely to the other side of the sea and He destroyed the entire army of Pharaoh who pursued the people of Israel by drowning them in the Red sea.

2.10.3.4 Manna, Quails and Water from the Rock (Exod 16,1- 17,6)
Another significant saving act of God that occurred during the Exodus journey is feeding of the Israel. The Lord God, feeding the Israelites in the wilderness with Manna and Quails and quenching their thirst by giving water from the rock is engraved meticulously as well as in a very detailed manner on this plate.
The presence and glory of YHWH is portrayed in the form of cloud surrounded by flames signifying that it is He who fed the Israelites for forty long years in the wilderness and even today it is He who feeds the people (v.10). The depictions of the falling of manna, quails flying over it and people seen busy collecting and standing near by, show the benevolence of YHWH and recalls the event that happened in the history of Israel at the wilderness of Sin, on their way to their Promised Land. This is the bread from Heaven (Vv. 13-21)
The picture below recalls another miraculous saving act of YHWH in the wilderness of Rephidim. YHWH provided water from the rock to the Israelites who grumbled against Him saying He was letting them to die of thirst in the wilderness. Moses standing with the staff near the rock flowing with the water tells that the commandment of YHWH to Moses to strike the rock is carried out. And the water flowing like a stream shows the abundance of YHWH in fulfilling the needs of His people (Exod 17,1-7). The people and animal flock the water to quench their thirst is very realistically shown on the plate.

2.10.3.5 The Ark of the Covenant (2Sam 6,1-19)
This pictograph depicts the incident of King David bringing the Ark of the Covenant into the city of Jerusalem. This event shows the attainment of nationhood by the Israelites. Now they have their own nation with its capital city Jerusalem where the Lord has come to dwell. This shows the establishment of Israel as people with their own identity. There are two parts in this pictograph. The first part depicts the bringing of the Ark from Baalejudah on a new cart (Vv. 2-3). The depiction of the new cart with the Ark of the Covenant portrays this event. The picture of the man having a crown above his head is King David, the humble, faithful servant of YHWH. Together with the king the figures of people dancing with musical instruments show how King David and all the house of Israel were dancing before the Lord with all their might, with songs and lyre and harps and tambourines and castanets and cymbals (V.5).
The Ark of the Covenant was not taken directly to Jerusalem rather it remained at the house hold of Obededom for three months (Vv.10-11) after which it was taken to the city of Jerusalem (Vv. 12-14). This scene is pictured in the second part, which beautifully depicts Ark of the Covenant being worshipped by King David and the people.

2.10.3.6 Prophet Jonah and the People of Nineveh (Jonah 1,3- 3, 9)
The saving acts of God are not only confined within the lives of Israelites, rather God cares for all and saves everyone. The book of Prophet Jonah proclaims this truth. This plate depicts the life of Prophet Jonah. Jonah was asked to preach to the people of Nineveh to repent from their evil ways. But Jonah disobeyed God and went towards an other direction, but he was miraculously carried by a large fish in its belly, where he remained for three days and nights, and brought to the shore of Nineveh (Jonah 1,1- 2,10). The man in the belly of the big fish engraved on the plate is the symbol of this incident.
Then the prophet Jonah announces God’s judgment on Nineveh and calls the people to repent and to plead for the forgiveness from God. It is clearly shown by the picture of prophet Jonah preaching and surrounded by people listening to him including the King who is specifically depicted with a staff in his hand (Jon 3, 1-10).
The final act of God forgiving the people of Nineveh, who repented for their sins are shown by the symbol of a plant in the model of the cross. God uses a bush that guarded Jonah and withered away on the next day to show to Jonah, who was angry because God did not destroy the city, that God cares for the people and people matter a lot to him. So, He is not a God of destruction but a God of mercy and compassion (Jonah 4, 1-11).


2.10.3.7 The Incarnation (Lk 2,1-40)
The greatest of all God’s saving acts is the incarnation. God sent His only Son to redeem the world from sin. He took human form in order to raise the wo/man from the vale of tears. The incarnation, the greatest saving act of God is depicted in this pictograph. The new born child Jesus with earthly parents Joseph and Mary are pictured in a manger that is surrounded by animals and shepherds. The angels portrayed in the human form proclaim the good news to the shepherds and sing and praise the glory of God. The trees and plants engraved in the pictographs add to the beauty as well as make it more realistic.

2.10.3.8 The Miraculous Catch of Fish (Lk 5,1-11)
The miraculous catch of fish, the event that brought a definite change in the lives of Peter, James and John, the first disciples of Jesus who decided to leave everything and follow Jesus, is very artistically engraved in this plate. Jesus called the disciples to continue his saving work on the earth. He founded the Church and the apostles after the ascension of Jesus Christ continued the mission of Jesus and strengthened the Church. Thus, God’s saving work continues even today through the Church. Simon Peter seated on the boat is shown as catching the net which is filled with so many fish. And the people on the shore with their baskets to collect the fish and the images of birds on the shore clearly bring forth the extraordinary event happening there (Vv. 5, 5-7). Above this scene there is the picture of Jesus calling Simon Peter to follow him. Here Jesus is portrayed as one who is on the way and his hands stretched out towards Simon indicate that he is calling Simon Peter. And on the other side Peter is depicted as stretching out his hand towards Jesus expressing his readiness to follow him unconditionally (Vv. 10-11).

2.10.3.9 Jesus Walking on the Water (Mt 14,22-32)
The incident of Jesus walking on the water ended with apostles proclaiming Jesus as ‘Son of God’ (v.33). This memorial plate proclaims the ‘Sonship’ of Jesus Christ by depicting the incident of Jesus walking on the water. Though there are many figures in the plate yet the entire scene is dominated by three figures. They are the disciples in the boat with the gesture of exclamation, behind them is the image of the devils with horns on their head and in front of them is Jesus walking on the water with the emphasis on his sonship (divinity) expressed by the aura. In the beginning the disciples thought it was a ghost (v.26) and they did not believe in Jesus. This confusion is shown by depicting the picture of the devils just above their head. Their confusion and doubt were cleared once Jesus said, “Take heart, it is I; do not be afraid” (v.27). This is shown by the figure of Jesus walking on the water. The other figures like fish and the people on the shore with baskets bring more realism to the scene at the sea.

2.10.4 Other Symbols Used in the Art Work of Tabernacle
Mangala kalasam with a bird over it, dand carrying tirtha jal and lamps are symbols from popular religious traditions that are integrated into the whole art work. Mangala kalasam, a pot with water and a coconut placed on top it, is always considered to be divine and sacred by the Hindus. It also represents the golden vessel which came up from the cosmic ocean containing amrt, the ambrosia of life. Thus the magala kalasam on top of the tabernacle proclaims that the Holy Eucharist is the amrt, the ambrosia of life. All those who approach the tabernacle become the potential owners of life eternal, divine knowledge and eternal bliss.
Symbol of coconut on top of the kalasam has rich meaning mainly telling how one should approach the Holy Eucharist. Coconut is covered with a hard outer shell. Peeling this outer cover requires energy. This peeling signifies that one needs to get rid of ones senses, detaching himself from all worldly affairs in order to be close to the Lord. The three eyes on the top of the coconut represents the three gunas namely sattva, rajas and tamas of human beings. One needs to break the coconut in order to get the flesh, in the same way one needs to break oneself represented by the three gunas to receive God. It signifies a total submission to God. The white colour flesh inside stands for purity and the water inside stands for life giving energy. Thus, the coconut shows every believer the way to receive the Holy Eucharist, the life giving energy, which is present inside the tabernacle. According to the Indian symbolism the bird (dove) above the mangala kalasam is the symbol of angelic presence. But according to the Christian terminology the dove is the symbol of the Holy Spirit. The Holy Spirit is depicted in the form of the Dove, who pours out his life-giving power in to the ‘kalasam’ which is filled with grace. The door of the tabernacle has the symbols of cross, lamb and flower.


2.11 Vac-Vedi: Metal Work of Leaping Flames
On the left side of the altar is a metal work showing leaping flames (Exod 3,2) or sprouting seeds with letters on the leaves. The Bible, the Sacred Scripture is kept in this vac-vedi. The Bible is a living book because it contains the living and life-giving word of God. Through the Bible God speaks and reveals Himself to man. Here man encounters God in the Bible. This is the fundamental reason for the greatness of this book. This book contains a presence, the presence of God in His word.
The leaping flames, an image taken from the Bible (Exod 7.2) or the sprouting seeds with letters on the leaves, an image taken from Bhagavad-Gita proclaim the God’s presence in the Sacred Scripture. Thus, the Sacred Scripture becomes the source of everything.

2.11.1 Leaping Flames
Leaping flames signifies the appearance of YHWH to Moses at Mount Horeb in the flame of fire out of bush. “There are angels of the Lord appeared to him in a flame of fire out of a bush; he looked and the bush was blazing, yet it was not consumed.” (Exod 3,2). Here the bush that burns but is not consumed mediates the divine voice. Vac-vedi made of burning flames similar to the burning flames of the bush at mount Horeb proclaimes the ever living presence of God in the Sacred scripture as well as the creative force that his word carries. This word like the fire burns the hearts of people and transforms and makes them alive. “Indeed the word of God is living and active, shaper than any two–edged sword, piercing until it divides the soul from spirit, joins from marrow; it is able to judge the thoughts and intentions of the heart” (Heb 4,12).

2.11.2 Image of Sprouting Seed
From another perspective the vac-vedi looks like a sprouting seed with alphabets from different languages on the leaves. The inspiration of this imagery is drawn from the Hindu sacred text, Bhagavad-Gita (X,25). Bhagavad-Gita, chapter ten identifies Krishna with all that is best in the world. In Gita X,25, Krishna says the he is ‘girāmasmyekakakşaram’ ‘(I am the monosyllabic ‘Om’)’. “Krishna says ‘of all the words I am the one syllable’. Krishna being the mono syllabic ‘Om’ is the source of all scripture. “First the monosyllable ‘Om’ was revealed. Then Gayatri (a vedic meter), was revealed from Om; then the Vedas were revealed from Gayatri; and other scriptures and puranas etc., are based on the Vedas. So the Lord has declared ‘Om’, His divine glory.” ‘Om’ is the center or source of everything. It is by reciting ‘Om’ that one attains the supreme state. (Gita 8/13) the sacred acts of sacrifice, penance, etc, which are sanctioned by the Scriptures are performed by uttering this sacred syllable. ‘Om’ (Gita 17/24). ‘Om is the basis and source of everything.
Employing this symbolism on the vac-vedi is to proclaim that the word of God is the source of everything. The Bible is in the ‘Om’ form, the source of everything. Everything sprouts from the Bible. The beautiful imagery of the word of God as the seed is found in the proclamation of Jesus. He, in the parable of sower, compares the word with the seed that is sown in the field (Lk 8,4-15; Mt 13,1-9). It is by reading, meditating and living the word of God that one encounters God. And the center of all our worships, sacrifices, piety, penance, etc is the word of God.
Thus both, the symbolism of leaping flames and the sprouting seed indicate the presence of God in the Sacred Scripture as well as the Bible as the source of everything.


2.12 Mrtynjaya: Image of the Glorified Dancing Christ
The prominent art work that draws one’s attention as he /she enters into the chapel is the magnificent image of the Glorified Dancing Christ (Mrtynjaya). At the background of the garhbagrha (Sanctum Sanctorum) is the murti (statue) of glorified risen Lord, the liberator holding the cross in his hands. Jesus, the Son of God who liberated the human kind from sin is the center of our worship. The murti of glorified dancing Jesus contains many theological themes.

2.12.1 Understanding of Dance in India
Dance is found among all wo/men whether in primitive or advanced society. Its functions vary in these societies from religion to pure entertainment. Dance has occupied a very central place in Indian plastic art. Infact according to Silpa Sastras dance is the mother of all the arts. Everywhere in Indian iconography one can see dancing figures. In India all forms of art have a sacred origin, and the inner experience of the soul finds its highest expression in music and dance. The Hindu attitude toward art as an expression of the inner beauty or Divine in man brought it into close connection with religion. According to Hinduism dance has divine origin. “The oldest available text on dramaturgy is the Natya Sastra attributed to the 2nd century AD. The Sage, Bharata who composed it, states that the art of Natya was revealed to him by Brahma, the creator, who entered into meditation…and from the memory of all the Vedas shaped the Natya Veda,… enriched by the teaching of all the scripture”. Thus originally, in India dance was always connected to the divine, a means by which one enters into deep communion with the almighty

2.12.2 Understanding of Dance in Christianity
Unlike Hinduism, Christianity considered dance not from a religious perspective but from a perspective of mere entertainment. The Hebraic faiths, Judaism, Christianity, and Islam have never connected religion with dance. Music, scripture, painting, architecture, literature and even drama had all been used by the Church, but rarely one comes across an instance where dance was being used by the Church to propagate the faith. Dancing was always considered something that only Pagans employed in connection with worship. So it was beyond the conception of the Christian missionaries in India that faith could be expressed through an immodest medium like dance. To the missionaries who were single mindedly dedicated to the idea of service, these exotic movements of dance must all have seemed alike: when Radha danced with her longing for Krishna they found it hard to see this as an expression of the soul’s longing for God.
Thus the Murti of glorified dancing Jesus at the chapel may seem to be a scandalous image for some devout Christians. But a deep understanding of the image reveals the deep theological meanings behind this murti that can be written in volumes. Moreover, today the Church has recognized the Indian art forms as a means to express the Christian faith. Thus, there are many Indian artists like Jyoti Sahi presenting Jesus as a dancing figure.

2.12.3 Mrtyunjaya Christ Murti: Comparison with Nataraj
In Hinduism Shiva is called the Lord of dance. Shiva originally known in the Vedas as Rudra, the howler was also called the dancer within the pine forest. The great Indian icon of the Nataraj, or Lord of dance, represents Shiva dancing at the centre of a flaming circle which symbolizes the whole of the universe. Here the dance is symbolic of the divine activity of creation, destruction and re-creation in the cosmos. Dance is the symbol of dynamism, of joy, of creativity, of fulfillment. The cosmic dance is seen also as a victory over the principle of evil and over the inertia of matter. One can notice certain resemblance between the image of Nataraja and Mrtyunjaya Christ, Ashta.

2.12.3.1 The Image of Nataraj and its Symbolic Meanings
The famous figure of Shiva as Nataraj (Lord of dance) shows the dynamic aspect of this god and embodies all his attributes. This icon of Shiva’s tandava brings into unity many aspects of sacred time and space. It is a true configuration of many symbolic details, which together convey the mystery of the cosmic dance. In this great image of the Nataraja who is sacred time (maha kala) dancing in the sacred space of the universe, of six limps (four hands and two feet) five are on the left side of the icon, that is, the recreative side, while only one arm is on the right side. “In right hand he holds the damru (small drum), the symbol of creation. Balancing this on the other side, his left hand holds the fire of destruction. His other right hand is held in an attitude of reassurance – he will give protection – and his left hand, with the arm held straight across the body, points to the left foot, which is raised in benediction and grants bliss to all who come to him. His right foot rests on a demon of evil which he has defeated.” The dance is a pictorial allegory of the five principle manifestations of eternal energy - creation, destruction, preservation, salvation and illusion. The two legs standing and stepping across also signify the stability and movement. According to the learned scholar Commerswamy, the dance of Shiva also represents his five activities namely, Shrishti- creation, evolution; Sthiti- preservation, support; Samhara- destruction, evolution; Tirobhava- illusion; Anvgraha- release, emancipation, grace.

2.12.3.2 The Image of Mrtyunjaya Christ and its Symbolic Meanings
The symbolic meanings that are attributed to the image of Nataraja can be applied to the statue of glorious risen Christ. The sacred image of Jesus Christ dancing on the darker side of the universe that is represented by the vale of tears shows his victory over death. Unlike Shiva here Jesus has only two hands and two legs like a normal human being but all the actions that are performed by Shiva are shown through these four limps. His right hand holds the cross which is both symbol of creation and destruction. Through the cross Jesus defeated and destroyed death and brought forth new life, we are made a new creation. The same hand is held in an attitude of reassurance, meaning that he will give protection. His left hand, with the arm held straight across the body, points to the right foot, which is raised in benediction and grants bliss to all who come to him. His left foot is on the vale of tears representing death, negative and dark side of life that he defeated through his death and resurrection. The image of mrtyunjaya Christ, clearly manifests that Jesus is the creator, preserver and destroyer of the evil and he is the one through whom we have salvation.


2.12.4 Theology of Mrtyunjaya Christ
There is profound meaning behind presenting Jesus as the dancer. A certain tradition in Christianity tends to focus on sin and suffering on the image of the suffering Christ. Our experience of suffering and need of forgiveness is real. But the real message of Jesus is the joy and hope of the reign of God in his own person, especially symbolized by his resurrection. Dancing risen Christ of Khrist Prem Mandir is a relief image of Christ who has conquered death and all that is negative and dark side of the life, namely ignorance and exploitation, suffering and sickness, destitution as well as affluence, sin and selfishness (1Cor 15, 54b -56). He emerges from the vale of teas as the true liberator. As a true liberator he empowers the rest of creation notably the humankind, which is under the burden of sin, oppression and exploitation, to enter with him into the freedom of God the Father. St. Paul clearly tells about Jesus’ victory over death in his letter to the Colossians “Death has been swallowed up in victory. Where O Death, is your victory? Where, O death is your sting? The sting of death is sin, and the power of sin is the law. But thanks be to God who gives us the victory through our Lord Jesus Christ. For, through the son the Father decided to bring back the whole universe to himself. God made peace through his son’s death on the cross and so brought back to himself all things on earth and in heaven”. (Col 1, 20)
The image of dancing risen Christ is the image of liberator who is lifted up and who draws all people to himself. “And when I am lifted up from the earth, will draw al people to myself” (Jn 12,32). To be lifted up indicates three meanings. Firstly, it is to be glorified by God; secondly, it is going to the another realm. Thirdly it symbolizes victory over sin and death. All these three meanings are applicable to Jesus. Jesus after being lifted up draws all people to himself so that they may attain the total liberation that God is offering to them through Jesus Christ. Here Jesus liberates people from various kinds of evils. It is an integrated total liberation. It is liberation from mental, spiritual and physical sufferings.
So liberation of Jesus should be understood not only from religious perspective, but also in the material sense. So Fr. Joy in this art work of glorified dancing Christ has combined both spiritual and material aspects of liberation centered on Jesus Christ as the Lord of integral liberation. The images on the vale tears show all kinds of sufferings of human beings like spiritual, material, mental, etc., And Jesus Christ coming out of this vale of tears shows the everlasting victory that he has gained for us and invites everyone to partake in that total liberation.
The dancing Christ is therefore a symbol of hope that challenges us to be creative newness, and to collaborate with God who is making all things new (Rev 21,5). It is an invitation to participate in the creativity of the Spirit (Rom 8). Christ is indeed at the head of a cosmic movement that leads to a recreation of all things, in the heart of God’s own being and life (1Cor 15, 28). The goal of life for us humans is this communion of all in God which is the source of unbounded joy (ananda). Dance is the symbolic expression of this joy.


2.12.5 Cross of Dancing Christ
The image of glorified dancing Christ holds a cross in his hand, through which he gained the victory. The sacredness of the cross does not lie in the fact that it was a common instrument of torture, or the symbol of suffering. Rather, the symbolic meaning of cross goes beyond this understanding. We worship the cross not because it was the occasion of Christ’s agony, but because it pointes, finally speaking, to the triumph of Resurrection. So here the cross in the hand of dancing Jesus is the victory symbol. The significance of this cross is that it is not designed like the ordinary cross, but it is designed under the motif of Indian and Eastern orthodox symbolism.

2.12.5.1 Eastern Christian Symbolism
The cross in the hand of dancing Jesus resembles the patriarchal cross. The patriarchal cross is a variant of the Christian cross, the universal religious symbol of Christianity. Similar to the familiar Latin cross, the patriarchal cross possesses a smaller cross bar placed above the main lone, so that both cross bars are near the top. The symbol, often referred to as the patriarchal cross, appeared in the Byzantine Empire in large number in the 9th century.
Many symbolic interpretations of the double cross have been put forth. The most popular idea is that the upper beam, also seen on the Russian and Eastern orthodox cross, represents the plaque bearing Pontius Pilate’s inscription “Jesus of Nazorean king of Jews” (INRI). Another explanation is that the first beam symbolizes secular power and the second beam the ecclesiastical power of Byzantine emperors. In the 9th century, this was a political symbol used by Byzantine clerks and missionaries. Another explanation is that the first beam represents the death of Jesus Christ and the second beam his resurrection. Hence the cross is used as a victory sign in this image, both the beams represent the death and resurrection of Jesus Christ.


2.12.5.2 Indian Traditional Symbolism
According to Fr. Louis Malieckal the cross is designed after the trishul of Shiva. Trishul is a three pointed javelin like weapon used by shiva. The cross, that Jesus holds is one pointed in order to avoid the aspect of killing and scandals. In Hinduism trishul has many symbolic meanings. The trishul that Shiva holds in his right hand represents the instrument by which he removes the pain caused by the effect of gunas Sattva, rajas and tamas. The three gunas of nature binds the immortal soul to the body causing much pain. Shiva destroys the pain with the trishul. When looked upon as a weapon of Shiva, the trishul is said to destroy the three worlds: the physical world, the world of the forefathers, representing culture drawn from the past and the world of the mind representing the processes of sensing and acting. The three worlds are supposed to be destroyed by Shiva into a single non-dual plane of existence that is bliss alone. The cross, we know, is the instrument through which Jesus destroyed all evil in the world and brought everlasting bliss to the people. Thus, we see cross is portrayed in the form of trishul. “For the message about the cross is foolishness to those who are perishing, but to us who are being saved it is the power of God.” (1Cor 1,18)
One can also spot the symbol of an eye at the top of cross. The symbol of eye is also one of the symbols related to Shiva. Shiva is known as the Trilochana, the three- eyed one, at the centre of whose forehead is the third eye, the eye of wisdom (gnana-chakshu). The burning power of the wisdom of the third eye destroys desires of worldly objects. When a person reaches the state of perfect renunciation, he is said to have burnt all his desires. Shiva’s third eye burnt to ashes Kamdev. The eye of wisdom leads to transcendental vision of the supreme Reality. The eye aptly portrayed here represents Jesus as burning out all the evil desires and he is the everlasting wisdom, eye of wisdom through whom one can have the transcendental vision of the Supreme Reality. “He is the source of your life in Christ Jesus, who became for us wisdom from God, and righteousness and sanctification and redemption”. (1 Cor 1, 30)


2.13 Various Religious Symbols in Triangular Fibre-Glass
Mandir is a holy place, which should be the meeting place of different peoples, religions, cultures and traditions. In this holy place the walls of differences must break down and all narrow definitions of identities should disintegrate and find convergence into the One and Infinite. True to this idea, one of the important theological concerns of Fr. Joy’s art forms is religious harmony and dialogue. “In fact a number of his church designs are such that they are built as centers of inter-religious prayer and worship. Ashta is the place where people belonging to different regions live together and the seminary campus is very often frequented by them. They feel quiet at home and experience God in the prayerful atmosphere of the seminary. Moreover, seminary takes initiative in conducting various activities to promote religious harmony and dialogue among the people of this town. Fr. Joy beautifully expresses this vision of the seminary through the art form in the Khrist Prem Mandir by depicting the symbols of various religions. Triangular fibre-glass panels on the windows depict twelve symbols from world religions, both tribal and main stream. Every religion has its own symbolic harmony of sound and colour. Colours of the spectrum are elements of the couourless transcendent light and symphony is the harmony of sounds. Thus, we find on the panels the pictures of the musical instruments closely related to that religion and various colours.

2.13.1 Symbol of Taoism
This yin yang is the symbol of Taoism. This is also known as the diagram of the supreme ultimate. The yin yang symbol is one of the most fundamental and profound theories of ancient Taoist philosophy. At its heart are the two poles of existence, which are opposite but complementary. The light, white yang moving up blends into the dark, black yin moving down – yin and yang are dependent opposing forces that flow in a natural cycle, always seeking balance. Yin and yang represent the two primal cosmic forces in the universe. Yin is characterized as receptive, passive, cold, slow, soft, yielding, diffuse, wet and tranquil; and is associated with moon, feminity, water, earth, and night time. Yang, by contrast is characterized as fast, hard, solid, focused, hot, dry, movement; and is associated with sun, masculinity, fire, sky and daytime. In Taoist text, white and black represent enlightenment and ignorance respectively. Though they are opposing, they are not in opposition to one another. As part of the Tao, they are merely two aspects of a single reality each contains the seed of the other, that is why we see a black spot of yin in the white yang and vice versa. They do not merely replace each other but actually become each other through the constant flow of the universe. The yin yang symbol represents the idealized harmony of these forces; equilibrium in the universe.





2.13.2 Symbol of Shintoism
This symbol known is the toriigate as the symbol of Shintoism. Torii is the traditional Japanese gate commonly found at the entrance of or within a Shinto shrine (jinja). As Shinto is a religion of worship of nature spirits, or kami, most Shinto shrines are located out doors. The Gate marks the boundary between the physical and spiritual worlds, and is often the only indication that one is entering a shrine. It symbolically marks the transition from the sacred to the profane. The Torii is traditionally made in three pieces, three being a sacred number of the kami. When entering a shrine a visitor will clap his/her hands three times, and bow three times to summon the spirits before offerings are made or ritual is performed.


2.13.3 Symbol of Sikhism
This symbol known as khanda, is one of most important symbols of Sikhism. It was introduced by the sixth Guru Hargobind. It is an amalgam of three symbols, represented by three different items. It is commonly found on the flag of the Sikhs, anywhere in a Gurudwara. There are three different items used in a khanda, which also have a symbolic meaning. (1) A double-edged sword called khanda in the centre. (2) A chakkar, which is circular. (3) Two single - edged sword or kirpans kept acrossed at the bottom and sit on either side of the khanda and chakkar.
In the double-edged sword the left side represents Truth and the right side represents the willingness to fight for what is right- dharma (religion). The khanda also represents the knowledge of God and belief in one God. The circle in the middle represents the one God, who has no beginning and end, and reminds the Sikh to remain within the rule of God. The two swords (Kirpans) represent the two characteristics, one being miri, the political authority and the other is piri, the spiritual authority.

2.13.4 Symbol of Jainism
This symbol known as swastika is widely used by the Hindus, Jains and Buddhists. The word swastika is derived from Sanskrit ‘swastika’, a symbol promoting good fortune’. Swastika symbol has much more relevance and significance in the Jain religion as compared to Hinduism or Buddhism. In Jainism, swastika represents the seventh Jina (saint), more popularly known as the Tirthankara suparsva. It is one of the most prominent auspicious symbols of present era. In cultural traditions of svetambar Jains, swastika is one of the main symbols of the ashta-mangalla. All Jain temples and holy books must contain the swastika and ceremonies typically begin and end with creating a swastika mark several times with rice around the altar. The equilateral cross with arms bent at right angels, all in the rotary direction represents the four main directions which the mental state can take. “The state with the highest agonizing point is the hellish state. The extreme state of pleasure is called the heavenly state. The state where the living being does not know what is tomorrow or did not know what was yesterday, is the animalistic state. The state of equilibrium point between the pleasure and the pain is the average human state.”


2.13.5 Symbol of Jewism
One of the oldest symbols of the Jewish faith is the menorah, a seven – branched candelabrum used in the temple. It symbolizes the burning bush as seen by Moses on mount Horeb. The menorah symbolized the ideal of universal enlightenment. The seven branches allude to the branches of human knowledge, represented by the six lamps inclined inwards towards, and symbolically guided by the light of God represented by the central lamp. The menorah also symbolizes the creation in seven days with the center light representing the Sabbath. The Kohanim lit the menorah in the sanctuary every evening and cleaned it out every morning. Exod 25, 31-40 details the instruction for constructing the menorah. It has been said that the menorah is the symbol of the nation of Israel and their mission to be ‘a light to the nations’ (Is 42, 6). Israel is to accomplish its mission by setting an example, not by using force. This idea is highlighted in the vision in Zech 4, 1-6. Here Zechariah sees a menorah, and God explains, ‘Not by might, nor by power, but by my spirit’ The instrument depicted here is the shofar used by Jews on important sacred occasions (Amos 2,2; Lev 25, 9)

2.13.6 Symbol of Buddhism
This wheel is one of the most important Buddhist symbols, as it represents the teachings of Buddha. Buddha was the one who turned the wheel of dharma, and thus the wheel symbol is the dharmachakara, or wheel of law. The Tibetan term for this symbol is chos kyikhor lo, means ‘the wheel of transformation’. The wheel’s motion is a metaphor for the rapid spiritual change engendered by the teachings of Buddha. His first discourse at the Deer park in Saranath is known as the ‘first turning of the wheel of dharma”. His subsequent discourses at Rajgir and Shravasti are known as the ‘second and third turnings of the wheel of dharma.’ The eight spokes of the wheel symbolizes the noble eightfold path set out by Buddha in his teachings.
The wheel also represents the endless cycle of samsara, or rebirth, which can only be escaped by means of the teachings of Buddha. And some Buddhists regard that the wheel’s three basic parts as symbols of the ‘three trainings’ in Buddhist practice. The hub symbolizes moral discipline that stabilizes the mind. The spokes represent wisdom, which is applied to defeat ignorance. The rim represents training in concentration, which holds everything else together. The musical instrument pipe, which is frequently used by the Buddhists, is depicted in this panel.


2.13.7 Symbol of Zorastrianism
Fire is sacred in Zoroastrian belief. The chamber containing the holy fire, is known as the Dar-I-Mihr of parch of mithra. Fire is present in all rituals and fire burning perpetually in the temple is considered as the symbolic representation of God. There are three different grades of fire in the temples. The royal fire known as the atash bahram burns only in four temples. The adaran fire burns in most of the temples. And the dadgah fire which can be tended by a layperson and will be present in the home. While fire purifies, even consecrated, holy fires are not immune to contamination and so Zoroastrian priests take many precautions to keep the fire pure. The instrument depicted here is the Sitar.


2.13.8 Symbols of Hinduism
There are two symbols of Hinduism depicted here.



2.13.8.1 Symbol of OM
The most sacred symbol of Hinduism is OM. It stands for Brahman, both as personal and impersonal god. The passage below is one of the clearest of the countless references to OM in Hindu scripture (Kathaka Upanishad I, ii, 15-17) “The goal which all the Vedas declare, which all austerities aim at, and which men desire when they lead the life of continence, I will tell you briefly: it is OM. This syllable OM is indeed Brahman. This syllable is the Highest whosoever know this support: this is the highest support. Whosoever knows this support is adored in the world of Brahma”. Thus in Hinduism the word OM is the first syllable in any prayer.
OM also symbolizes the universe as well as the Ultimate Reality. “The word AUM is explained in the Upanishads as having a Trinitarian structure. It appears that the hieroglyph found in Sanskrit to represent this archetypal sound has the form based on three spheres overlapping” Thus the sign AUM signifies the trinity of God. It is symbolic of the three main gods. A represents Brahma, the creator; U represents Vishnu, the preserver and M represents Shiva, the destroyer. The three letters also symbolize the three worlds, i.e., heaven, earth, and nether world. In the Vedas, the word AUM is the sound of sun, thus representing the sound of light. Almost all pilgrimage places of Hindus have the AUM symbol enshrined. The musical instrument that we find on panel is the veena. This stringed instrument represents art and learning. It is also used by the goddess saraswati and the sage Narada.

2.13.8.2 Symbol of Sudarshana Chakra
This symbol sudarshana chakra is more associated with the Vaisnavism. Sudarshana Chakra is the weapon with 108 serrated edges of god Vishnu. The sudarshana Chakra is portrayed on right rear hand of the four hands of Vishnu. According to the Puranas, the use of Sudarshana Chakra is called for ultimate destruction of the enemy. The depiction of sudarshana chakara with Vishnu also meant that Vishnu is the keeper or owner of the celestial bodies and heavens. The musical instrument flute is the instrument of Krishna.

2.13.9 Symbol of Christianity
The most significant symbols of Christianity is the cross. It is by dying on the cross that Jesus brought salvation to the world. So, it is quite natural and logical that the instrument of salvation should become an object of special respect and veneration. In the Biblical understanding the cross which was Christ’s way of life should be the way of life of every believer, because it leads to resurrection and glory. Thus, the devotion to the cross beginning already with St. Paul (1 Cor 1, 17; Eph 2, 16; Col 1, 14; Gal 6, 14) was not chiefly concentrated on the negative aspect of mere physical suffering and death, rather it was mainly of the cross’ divine role in the divine plan of salvation. As Christ through his passion was a triumphant victor over death and sin, so the cross, the means of suffering, became the source of life. Thus, it was looked upon as the throne and standard of the king of glory. Thus, cross as a symbol is widely used by the Christian, in fact Christians are identified with the symbol of cross. The instrument depicted is the lyre, which was frequently used by the early Christians in their worship.

2.13.10 Symbol of Tribalism
Most of the tribals are nature worshippers. They do not come under any main stream religion, but they have their own unique way of worshipping the deities. This panel depicting the symbols of a lady’s face and an axe is associated with the tribal religion. Tribals, being nature worshippers, worship the spirits. And female deities are very much prevalent among them. Axe is the essential part of tribal life since they reside in the forest. It is used for various purposes starting with daily activities, protecting oneself and in sacrifice. Blood sacrifices are common among the tribals thus the axe with the tips red coloured signifies the tribal sacrifices. Music and dance are very dear to the tribals. Drum is the common musical instrument of tribals.

2.13.11 Symbol of Islam
The star and crescent is the best known symbol used to represent Islam. It features prominently on the flags of many countries in the Islamic world. This symbol was adopted by Islam after it spread through the Ottoman Empire. Crescent is the sign of hope. It was adopted after prophet Muhammad won the war against the Byzantine emperor. When one walks in the desert where one could see only the stars, the crescent becomes the sign of hope. This symbol urges everyone to keep on walking with the hope that God is there. The instrument depicted here is the Tabala, which is an essential instrument in classical music.

2.14 Tribal Life and Dance on the Outside Cement Wall
Primal music and dance are indications of experience of totality, oneness and unity. It is based on egalitarianism and communion. The tribal communities give prominent place to music and dance. For them music and dance are communitarian activities. There is no onlooker or audience in a tribal dance but all are active participants. The elders, youngsters, children, men and women all join together in celebrating life with music and dance. In spite of their poverty and difficulties they express their communitarian spirit and express their solidarity through dancing. According to Prasad, “The proper context of tribal music is both social and ritual. The social context is characterized by musical socialization, collective ownership of musical instruments and talents, non-differentiation of audience and performers, lack of role of specialization and positive appreciation of music. The ritual context of music reaffirms the social concern and leads further on to man’s highest perfection.”
The outside of the house of God is decorated in a village style with six art works on the windows depicting village people rejoicing and dancing. “The six art works depict the social and ritual dances of the tribals of central India namely the Bison horn Gonds, Dandamari Gonds and the Muria Gonds. Their daily activities like agricultural, traveling, marketing, worship, singing and dancing are presented on the walls.” The prevention of day today life of these people is to show that life is not different from liturgical celebration. In tribal society there is no separation between their life and their worship. Thus, everything is intermingled: ‘Our life is the worship’.

2.15 The Wooden Altar and the Stations of Cross on Earthen plates
The altar at Khrist Prem Mandir proclaims the vision of the seminary. The altar is made up of wood and has the symbol of the simple cottage. It is the replica of the seminary building in the model of a simple cottage with the asbestos roofing. This calls every seminarian to live a simple life as that of their master who is sacrificed on the altar everyday. Thus everyday lives of the seminarians are integrated with the Eucharistic celebration, which is the source and summit of every Christian. It is from the Euchrist the seminarinas draw the strength to carry out the mission of Christ. The fourteen Stations of the Cross are depicted on the earthen plates. The earthen plates are placed on wooden pieces are placed on both the wings. The passion journey of Jesus to Calvary is very realistically reflected on the earthen plates.















Conclusion

We limited humans find it difficult to conceive and worship God in abstract terms. It is the nature of the humanity to look for something tangible and visible. Considering this aspiration of human beings, the invisible God made Himself visible in the person of Jesus Christ through incarnation, so that human beings can have a glimpse of God and experience the intangible reality of God through Jesus, the Word made flesh.
This incarnation is the basis for all creativity, imagination and art works in the Church. The unseen reality of God, the mystery, has always fascinated the human imagination. And it is the artists who have dared to enter into that realm of mystery and describe the unseen and ineffable mystery of God through various art forms. They have given us icons, symbols, statutes, images, paintings, etc, that help us to relate to God deeply. Every art work proclaims something about God. They are pointers towards that incomprehensible and invisible reality. They have some meaning to convey, but at the same time they do not reveal everything about the invisible reality, but they also hide something. This hiding reveals the inexhaustible nature of the ultimate reality, known as God. This makes us to long for the total possession of it. A believer can experience better and relate with God in a deeper manner in a church adorned with Biblical art forms than in a mere barren hall. It is here that art becomes a powerful medium to proclaim the Good News of God.
The Khrist Prem Mandir decorated with Biblical art forms based on the cultural and religious traditions of India powerfully proclaim the Gospel better than the mere words or verbal preaching. These art forms do not merely stand here but they communicate, proclaim and point towards that invisible divine mystery. Every art form present in the chapel reveals in their own way some aspects of the divine mystery like the Gospel truths, the saving actions of God, the deep longing of humankind to reach God and for liberation, the respect of Church for other local cultural and religious traditions, etc,.
Today, in India we speak of indirect evangelization due to the existing unfavorable situation of our country for the direct evangelization. In a place like Ashta, where majority of the population belonging to the other religions, this chapel stands as the best medium to proclaim the kingdom of God. The Bishops of Asia see mission in Asia as a dialogue with the three fold realities of Asia, viz., ‘its rich cultures, its ancient and great religions and the poor’. And I can convincingly say that this Khrist Prem Mandir in a way carries out this vision of Asian Bishops. The employment of symbols of rich cultures of India and the great religions of Asia paves the way for the Church to dialogue with them. Moreover, the aspirations of the poor, their thirst for liberation, justice and equality are expressed through the art forms of tribal traditions and the liberative thrust given to every art form in the chapel. Therefore this chapel carries out the mission of proclamation by dialoguing with these three fold realities.
In Indian mind set ‘truth does not impose itself, but rather attracts everyone and everything to itself, by its beauty, splendour and fascination’. This is the reason why most of the worshipping places in India are adorned with beautiful art forms. This is applicable also to Khrist Prem Mandir, the truth i.e. the message of our Lord Jesus Christ is not imposed on others rather it attracts. Whoever enters this chapel, seeing the traditional art forms proclaiming the Christian message, may be fascinated and that will lead them to attain the truth and accept Jesus, as their Lord and Saviour. Thus, the very architecture of the chapel itself evangelizes and proclaims the Good News of Jesus Christ.
But at the same time for some devout traditional Catholic Christians certain symbols may appear scandalous but a deep reflection on these symbols may reveal the inherent theological meaning behind them and the Church’s way of proclaiming the Good News through the local cultural and religious traditions. This chapel does not contradict the Church’s understanding of other religions rather it goes in tune with her teachings. The Federation of Asian Bishop’s Conference perceives the religious traditions of Asia ‘as expressions of the presence of God’s Word and of universal actions of His Spirit in them’.
The believers of all religions are co-pilgrims who share intimate spiritual experiences and reflections with one another with concern and compassion, with genuine openness to truth and the freedom of spiritual seekers. We, the Christians cannot be real God-seekers unless and until we respect and appreciate the goodness in other religions and the cultural traditions. We cannot proclaim the Gospel without accepting the pluralism and diversity of India, a country dominated by the world’s principal religions. Thus, Khrist Prem Mandir is the best example for Church’s respect for other religions, local cultures, her solidarity with the poor and her efforts to promote the local cultures and moreover it is the best example to show how the Gospel incarnates into the local culture.
























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Unpublished Materials

Aryankalayil, Joseph, Unpublished Class Notes: “Holy Trinity,” Ashta: Khrist Premalaya Regional Theologate, 2009.

Chungath, Sijo, Unpublished Dissertation: “Jaina Philosophy of Purification,” B.ph diss., Ruhalaya Major Seminary, 2008.

G., Lazar, Unpublished Class Notes: “Theology of Religion,” Ashta: Khrist Premalaya Regional Theologate, 2009.

G., Lazar, Unpublished Class Notes: “Mission and Themes of Religions in Context,” Ashta: Khrist Premalaya Regional Theologate, 2010.

John, Jolly, Unpublished Class Notes: “Pnuematology,” Ashta: Khrist Premalaya Regional Theologate, 2009.

John, Michael, Unpublished Class Notes: “Pentateuch,” Ashta: Khrist Premalaya Regional Theologate, 2007.

Scaria, Francis, Unpublished Class Notes: “Sacrament of Initiation,” Ashta: Khrist Premalaya Regional Theologate, 2009.

__________, Unpublished Class Notes: “Ecclesiology,” Ashta: Khrist Premalaya Regional Theologate, 2008.

__________, Unpublished Class Notes “Theology of Sacraments,” Ashta: Khrist Premalaya Regional Theologate, 2008.

___________, Unpublished Class Notes: “Sacrament of Reconciliation,” Ashta: Khrist Premalaya Regional Theologate, 2009.

Srambical, Clarence, Unpublished Class Notes: "Theology of Ministries," Ashta: Khrist Premalaya Regional Theologate, 2009.

Sual Singh, Niranjan, Unpublished Class Notes: “Eucharist,” Ashta: Khrist Premalaya Regional Theologate, 2010.

V. C., Mathew, Unpublished Class Notes: “Marriage and Sexual Ethics,” Ashta: Khrist Premalaya Regional Theologate, 2009.