神父马克西姆：身体作为仪礼空间：圣马克西姆的密仪
目录
- 按：这是神父马克西姆（Fr. Maximos Constas）于2022年4月28-30日在波士顿举办的学术研讨会上的公开讲座，讲题为「身体作为仪礼空间：圣马克西姆的密仪」。本文为中英双语对照文本，由阿甲整理『若整理和翻译有任何问题，欢迎指正』。
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神父马克西姆：身体作为仪礼空间：圣马克西姆的密仪
[English] Well, thank you, President Kantonis and Dean Parsenius, for those generous introductions. It is a personal and professional privilege and pleasure to welcome you to this public lecture, which marks the beginning of a colloquium that will continue tomorrow and Saturday at the Sheraton Commander Hotel in Harvard Square. It’s wonderful to see so many friends who have come not only from across New England, but from all across the country, as far away as Texas, Nevada, and California. Greetings also to those who are watching online. We very much appreciate your support. I’m delighted to welcome also our illustrious speakers, some of whom have flown here from Europe in just the past hour and found the strength to be here this evening. We appreciate that greatly. I owe a special debt of gratitude to the students in my seminar on the mystagogy this semester. Over the last four months, they have been excellent conversation partners as we work through this difficult text. Thankful to the Malliotis Center, in particular to Presbytera Crisoula. I think I saw her sitting somewhere here. And to Markela Petitsas for their gracious support and assistance. Most of all, I am grateful to my assistant director, Dr. T. Kahn Pino, who has worked extremely hard to make this event possible.
[中文] 那么，感谢Kantonis校长和Parsenius院长慷慨的介绍。欢迎各位参加这场公开讲座，这既是我个人的荣幸，也是我职业上的乐事。这场讲座标志着一场研讨会的开始，该研讨会明天和周六将在哈佛广场的喜来登指挥官酒店继续进行。很高兴看到这么多朋友不仅来自新英格兰各地，还来自全国各地，甚至远至德克萨斯州、内华达州和加利福尼亚州。也向在线观看的朋友们问好。我们非常感谢你们的支持。我也很高兴欢迎我们杰出的演讲者，其中一些人在过去一小时内刚从欧洲飞抵此地，并找到了今晚出席的力量。我们对此深表感激。我要特别感谢本学期参加我密仪研讨班的学生们。在过去的四个月里，在我们研读这本艰涩的文本时，他们是极佳的对话伙伴。感谢Malliotis中心，特别是Presbytera Crisoula。我想我看到她就坐在某处。并感谢Markela Petitsas的慷慨支持与协助。最重要的是，我要感谢我的副主任T. Kahn Pino博士，他为了促成这次活动付出了极其艰辛的努力。
[English] Saint Maximus the Confessor is widely recognized as one of the greatest theological thinkers, not simply in the entire canon of Greek patristic literature, but in the Christian tradition as a whole. A peripatetic monk and prolific writer, his extraordinary theological vision found expression in an unparalleled synthesis of biblical exegesis, ascetic spirituality, Patristic theology, and Greek philosophy, which is as remarkable for its conceptual sophistication as for its complex style of composition. The focus of our colloquium this weekend is St. Maximus’ Mysticology, which is the second oldest commentary on the Divine Liturgy. My remarks this evening consider a central aspect of this work. To introduce my paper, it will be helpful to begin with a few words about what people call liturgical spirituality.
[中文] 认信者圣马克西姆被公认为最伟大的神学思想家之一，不仅在希腊教父文学的整个经典中，而且在整个基督教传统中都是如此。作为一名云游修士和多产作家，他非凡的神学视野在圣经释经、苦修灵性、教父神学和希腊哲学的无与伦比的综合中得到了表达，其概念的精深与复杂的写作风格同样令人瞩目。本周末我们研讨会的重点是圣马克西姆的《密仪》，这是关于圣礼仪的第二古老的注释。我今晚的发言将探讨这部著作的一个核心方面。为了介绍我的论文，先谈谈人们所说的礼仪的属灵性将会有所帮助。
[English] Liturgical spirituality is a relatively new category. in theology. The phrase made its initial appearance in 1920. Sorry. The phrase made its initial appearance in 1920. reached a peak in 1995. for a while fell out of fashion. but over the last few years has been making a steady comeback. As we might expect, Liturgical spirituality, by definition, focuses on things like church attendance and participation in the sacraments. It encourages the faithful to take an active role in the liturgy. by following the prayers. singing the responses and above all by partaking in the Eucharist. Participation in the liturgy is presented as the principal element of Christian life. and exponents of liturgical spirituality claim That it is the only spirituality. that one needs. Now, there’s a problem with this definition. Because while it rightly emphasizes the importance of our outward behavior at liturgy. It pays almost no attention. to our internal disposition. as if our external gestures and activities could be so easily separated from our inner life. or as if simply attending church services unnecessary. It seems clear. that at least some Christian communities have put all their eggs in a liturgical basket. for the simple reason that they have minimized or simply lacked. the spiritual and ascetic practices that have long been part of the Church’s tradition. In the absence of these practices, liturgical spirituality becomes Something like… a ritual version of sola scriptura. a kind of sola adoratio. is a temptation. to which Orthodox Christians themselves are not immune Nice to have it. For example, and it gives me an O. pleasure to share this anecdote with you. I once heard someone argue that Saint Mary of Egypt was not saved. because of her asceticism. but because she received Holy Communion. implicit in a claim like this. is the false assumption. that public worship and personal prayer are somehow opposed. to each other. or that participation in the Eucharist and asceticism are somehow mutually exclusive.
[中文] 礼仪灵修是神学中一个相对较新的范畴。这个词组最初出现在1920年。抱歉。这个词组最初出现在1920年，在1995年达到顶峰，有一段时间不再流行，但在过去几年里一直在稳步回归。正如我们所料，礼仪灵修顾名思义，侧重于教会出席和参与圣事等事情。它鼓励信徒在礼仪中发挥积极作用，通过跟随祈祷、唱和回应，最重要的是参与圣体圣事。参与礼仪被呈现为基督徒生活的主要元素，礼仪灵修的倡导者声称这是一个人唯一需要的灵修。现在，这个定义存在一个问题。因为虽然它正确地强调了我们在礼仪中外在行为的重要性，但它几乎没有关注我们的内在倾向，仿佛我们的外在姿态和活动可以如此轻易地与我们的内在生活分开，或者仿佛仅仅参加教会礼拜是不必要的。似乎很明显，至少有一些基督教社区把所有的鸡蛋都放在了礼仪的篮子里，原因很简单，他们淡化或干脆缺乏长期以来作为教会传统一部分的属灵和苦修实践。在缺乏这些实践的情况下，礼仪灵修变得有点像……一种唯独圣经的仪式版本，一种唯独敬拜。这是一种诱惑，东正教基督徒自己也不能幸免，很高兴能分享这个。例如，我很高兴能和你们分享这个轶事。我曾听人争辩说，埃及的圣玛丽得救不是因为她的苦修，而是因为她领了圣体圣事。像这样的主张中隐含着一个错误的假设，即公共崇拜和个人祈祷在某种程度上是对立的，或者参与圣体圣事和苦修在某种程度上是相互排斥的。
[English] Orthodox Christianity, however, has never understood public and private prayer as an either-or dichotomy, but to the contrary, has consistently seen the two as interdependent. This has been well expressed by the contemporary Athonite abbot, and his words on the subject, quoting in full: There are some things that go together; they cannot be separated, like faith and works, since one has no meaning apart from the other. The same is true of prayer, which is linked to something else, namely the liturgy, and especially Holy Communion. If there is no worship and no Holy Communion, then there can be no prayer, and any prayer uttered upon him is false. At the same time, if our worship is divorced from intense inward personal prayer, which cries out to God from our depths, then you can be certain that our worship and our Holy Communion is in vain. It is an attempt to deceive God and ourselves by pretending we love him, when in fact, we have no relationship with him whatsoever. One day he will say to us, I do not know you. I cannot say. Quotation continues: I go to church. If I do not pray, it is pointless for me to receive Holy Communion if I am not constantly praying, and it is pointless for me to pray if I have no part in the Divine Liturgy and the worship of the church. It should be clear that the spiritual life and the sacramental life go together. Each presupposes the other, and to have one without the other is to have neither. But when prayer and liturgy are inseparably united, when they work together, God becomes present to me. And as I address myself to him, he rushes toward me. He stretches out toward me, and through prayer, I stretch out toward him until we are united. And this is an absolutely wonderful statement of the church’s ideal on this question.
[中文] 然而，东正教从未将公共祈祷与私人祈祷视为非此即彼的二元对立，相反，始终认为两者是相互依存的。当代阿索斯修院院长对此有很好的表达，关于这个主题，他的话全文引用如下：有些事物是相辅相成的；它们不可分割，就像信心与行为，因为离开彼此，任何一方都毫无意义。祈祷也是如此，它与另一事物相连，即礼仪，尤其是圣体圣事。如果没有崇拜，没有圣体圣事，就不可能有祈祷，任何向他发出的祈祷都是虚假的。同时，如果我们的崇拜脱离了从我们内心深处向上帝呼求的强烈内在个人祈祷，那么你可以肯定，我们的崇拜和我们的圣体圣事都是徒然的。这是一种试图欺骗上帝和我们自己的行为，假装我们爱他，而事实上，我们与他没有任何关系。有一天他会对我们说，我不认识你们。我无法断言。引文继续：我去教会。如果我不祈祷，如果我不不断地祈祷，我领受圣体圣事就是毫无意义的；如果我不参与圣礼仪和教会的崇拜，我祈祷也是毫无意义的。应当清楚，属灵生活与圣事生活是相辅相成的。每一方都以另一方为前提，拥有其中一方而没有另一方，就等于两者都没有。但是，当祈祷与礼仪不可分割地结合在一起，当它们共同运作时，上帝就向我显现。当我转向他时，他就向我奔来。他向我伸出双手，通过祈祷，我也向他伸出双手，直到我们合而为一。这是对教会在这个问题上的理想的一个绝对精彩的陈述。
[English] It remains nonetheless undeniable that the tension between liturgy and spirituality is found in virtually every religious tradition that has a system of ritual observances. Public worship and private prayer are, or at least should be, truly complementary, but they can easily become uneasy bedfellows and at times even rivals. The harshest condemnations found in the Gospels are those that Jesus levels against the Pharisees, whom he denounced repeatedly for their adherence to the letter of religious observances, while ignoring their inner spirit, something which he found detestable and condemned as hypocrisy. The tension then between liturgy and spirituality is nothing new, though it takes on different forms in every generation. A recent book, Ritual and its Consequences: An Essay on the Limits of Sincerity, argues that, and I quote, our contemporary period is marked by an overwhelming concern with sincerity and authenticity, which rejects ritual as insincere, contrived and artificial, a mere performance without belief, an obstacle that prevents us from knowing what we really feel and what we really think. Because in the words of one sociologist, if you don’t choose it, it’s not authentic for you, and if it is not authentic, it lacks meaning. Thus, ritual is opposed to sincerity, and sincerity often grows out of a reaction against ritual. This then is the problem to which Saint Maximus the Confessor’s Mystagogy offers a solution.
[中文] 尽管如此，不可否认的是，在几乎每一个拥有仪礼守则体系的宗教传统中，都存在着礼仪与灵性之间的张力。公开的崇拜与私下的祈祷是，或者至少应该是，真正互补的，但它们很容易成为不安的同伴，有时甚至成为竞争对手。福音书中最严厉的谴责是耶稣对法利赛人的指责，他一再谴责他们只遵守宗教仪礼的字句，却忽略了其内在的灵意，他认为这是可憎的，并谴责其为伪善。因此，礼仪与灵性之间的张力并非新鲜事，尽管它在每一代人中呈现出不同的形式。最近的一本书《仪礼及其后果：论真诚的局限》认为，我引用一下，我们当代的特征是对真诚和真实的过度关注，这排斥了仪礼，认为它是不真诚的、做作的、虚假的，仅仅是缺乏信仰的表演，是阻碍我们了解自己真实感受和真实想法的障碍。因为用一位社会学家的话来说，如果你没有选择它，它对你来说就不是真实的，如果它不真实，它就缺乏意义。因此，仪礼与真诚是对立的，而真诚往往源于对仪礼的反抗。这正是认信者圣马克西姆的《密仪》所提供解决方案的问题。
[English] The solution, however, is complex. Since Saint Maximus does not give us a simple answer to the question, What is the church? Or what is the divine liturgy? instead he gives us layer upon layer of rich interpretations of the church, the liturgy, and the symbolism of the church building. The mystagogy is thus a deep theological contemplation of the liturgy, a contemplation of what we might call the liturgy behind liturgies. By which I mean the metaphysical work and activity of God that stands behind the liturgy that we have been celebrating for more than 2,000 years. For Saint Maximus, the liturgy is truly liturgy, which for him, in the words of one scholar, is a midpoint around which everything revolves, a center from which, like a single bright point into which one cannot look, everything is explained. And this is because the liturgy is everywhere presupposed as the act that makes the real and universal presence of Christ the midpoint between God and creation, heaven and earth, the church and the world, and between ages past and ages to come. And this is exactly what we expect, since the word mystagogy means initiation into the mysteries, and in particular, the mystery of the liturgy. Such initiation enables the faithful to develop something like an inner sense, an inner visuality, a new way of seeing that supplements and surpasses what the eye by itself is able to see and apprehend. In the mystagogy, Maximus builds on the basic framework of the liturgy, stopping at salient points to highlight theological ideas relevant to particular parts of the service. His aim is to cultivate in his readers the appropriate state of mind that one needs to adopt in order to understand the liturgy’s inner meaning and significance. In response to the separation of public worship and private prayer, Maximus constructs an elaborate synthesis combining the formal elements of the liturgy with the established practices of asceticism and spirituality, as we shall see over the course of my talk this evening. Saint Maximus does this by identifying two things: first, the movement and progression of the liturgy corresponds to the stages of spiritual growth; and second, the structure and function of the church building corresponds to the structure and function of the human person. The result is that the ritual space of the church is mapped onto the inner spiritual space of the body, and the inner space of the body is mapped onto the ritual space of the church, this reciprocity reflecting the belief that the liturgy celebrated in the sacred space of the church is a visible manifestation of the invisible liturgy taking place in the sacred interiority of the human soul. So what we have is like a puzzle made of several pieces. It will therefore be helpful to look at each piece in turn, and then consider the process of putting them together.
[中文] 然而，这个解决方案是复杂的。因为圣马克西姆并没有对”什么是教会？“或”什么是圣礼仪？“这个问题给出一个简单的答案，相反，他给了我们一层又一层关于教会、礼仪以及教会建筑象征意义的丰富解释。因此，密仪是对礼仪的深刻神学静观，是对我们或许可以称之为”礼仪背后的礼仪”的静观。我的意思是，在我们庆祝了2000多年的礼仪背后，有着上帝的形而上学工作与活动。对圣马克西姆来说，礼仪是真正的礼仪，用一位学者的话来说，对他而言，礼仪是一个万物围绕其旋转的中点，一个中心，就像一个人们无法直视的明亮光点，万物都由此得到解释。这是因为礼仪在处处被预设为一种行动，使基督真实而普遍的同在成为上帝与受造物、天堂与人间、教会与世界，以及过去与未来时代之间的中点。这正是我们所期望的，因为”密仪”一词意味着进入奥迹的启蒙，特别是礼仪的奥迹。这种启蒙使信徒能够发展出类似于内在感官的东西，一种内在的视觉，一种新的观看方式，它补充并超越了眼睛本身所能看到和理解的事物。在密仪中，马克西姆以礼仪的基本框架为基础，在关键点上停下来，强调与仪式特定部分相关的神学思想。他的目标是在读者心中培育一种适当的心境，这是人们为了理解礼仪的内在意义和重要性所需要采取的。为了应对公共崇拜与私人祈祷的分离，马克西姆构建了一个精巧的综合体系，将礼仪的正式元素与苦修和灵性的既定实践结合起来，正如我们今晚在这里的时间里将会看到的那样。圣马克西姆通过确认两件事来做到这一点：第一，礼仪的运动和进展与属灵成长的阶段相对应；第二，教会建筑的结构和功能与人的结构和功能相对应。结果是，教会的仪礼空间被映射到身体的内在属灵空间，而身体的内在空间被映射到教会的仪礼空间，这两个空间的互惠反映了这样一种信念：在教会的神圣空间中庆祝的礼仪，是在人的灵魂的神圣内在性中发生的无形礼仪的可见彰显。那么，我们所拥有的就像是一个由几块拼图组成的谜题。因此，依次查看每一块拼图，然后再考虑将它们拼凑起来的过程，将会很有帮助。
[English] Let’s begin with Maximus’ understanding of the liturgy. The liturgy that Saint Maximus describes in the Mystic O.G. is not very different from the liturgy that is familiar to us today. And thus it unfolds as a series of interconnected parts or units. These include the petitions, the antiphons, the small entrance, the reading of the epistle in the gospel, the great entrance, the offering of the gifts, the consecration, the distribution of Holy Communion, and so on. Though Maximus comments on 12 such units, he understands that the liturgy itself is divided into two basic parts. The first part being the liturgy of the word, which culminates in the reading of the Gospel, and the second part being the liturgy of the faithful, which culminates in the consecration and distribution of the Eucharist. These are the two high points of the liturgy, which are two Revelations of the Word of God. First, in Scripture, and then in the eucharist. Consistent with earlier writers, Maximus understands the Liturgy of the Word as symbolizing the coming of Christ into the world and his work of redemption. The liturgy of the word, as I said a moment ago, concludes with the reading of the Gospel. And with the liturgy of the faithful, the symbolism dramatically shifts from the historical life of Christ to the end of history and the last judgment. He associates the reading of the Gospel with the end of history based on Matthew 24, 14: the gospel of the kingdom will be preached in all the world as a testimony to the nations, and then the end will come. He further points out that after the reading of the gospel, the bishop descends from his throne and divides the congregation, dismissing the catechumens and ushering the faithful into the mystery of communion with Christ, an event which for Maximus foreshadows the separation of believers from non-believers at the Last Judgment. While the liturgy of the word symbolizes the first coming of Christ into the world, the liturgy of the faithful symbolizes the second coming of Christ and the Last Judgment. Though these are clearly two distinct moments, Maximus stresses that they are part of a larger continuum of incarnation and deification. If the liturgy of the word represents the incarnation, then the liturgy of the faithful makes present the grace of deification acquired through the incarnation. This stark division of the liturgy finds a correspondence in Maximus’ response to Thalassius, written around the same period as the Mystagogy. In this text, Maximus proposes that all of history is divided into two great periods. The first period is God becoming man. The second period is man becoming God. The first is the age of the incarnation. The second is the age of deification. Here is the text: “The end of the age determined by the will of God’s providence, which has already come upon us, for God has accomplished His perfect incarnation. We now await those ages that are to come, for the realization of the mystical and ineffable deification of human beings, in which God will show us the abundance of His goodness, fully realizing deification in those who are worthy. Let us then, in our thoughts, divide the ages, some to the divine mystery of the incarnation, others to the grace of human deification. We will find that the former has reached its proper end, while the latter has not yet arrived. In short, in these ages, the former belongs to God’s descent to man, while the latter belongs to man’s ascent to God.” This is an excellent example of how Maximus’ broader understanding of creation and universal history serves as the framework for the liturgy, which is not just a religious ritual or ceremony, but a truly cosmic event.
[中文] 让我们从马克西姆对礼仪的理解开始。圣马克西姆在《密仪》中所描述的礼仪，与我们今天所熟悉的礼仪并没有太大的不同。因此，它展开为一系列相互关联的部分或单元。这些包括祈求、对唱颂、小入堂式、书信和福音的诵读、大入堂式、奉献礼物、祝圣、分发圣体圣事等等。虽然马克西姆对这12个单元进行了评论，但他认为礼仪本身分为两个基本部分。第一部分是圣言礼仪，以诵读福音达到高潮；第二部分是信友礼仪，以祝圣和分发圣体圣事达到高潮。这是礼仪的两个高潮，也就是上帝之道的两次启示。首先是在圣经中，然后是在圣体圣事中。与早期的作家一致，马克西姆将圣言礼仪理解为象征基督来到世上及其救赎之工。正如我刚才所说，圣言礼仪以诵读福音结束。而在信友礼仪中，象征意义从基督的历史生平戏剧性地转向了历史的终结和最后审判。他根据《马太福音》24章14节将诵读福音与历史的终结联系起来：“这天国的福音要传遍天下，对万民作见证，然后末期才来到。“他进一步指出，在诵读福音之后，主教从宝座上走下来，将会众分开，遣散望教者，并引导信友进入与基督共融的奥迹中；对马克西姆来说，这一事件预示了在最后审判时信徒与非信徒的分离。圣言礼仪象征基督第一次来到世上，而信友礼仪则象征基督再临和最后审判。虽然这显然是两个不同的时刻，但马克西姆强调，它们是道成肉身与神化这一更大连续体的一部分。如果圣言礼仪代表道成肉身，那么信友礼仪则使通过道成肉身而获得的神化之恩成为当下的现实。礼仪的这种显著划分在马克西姆对撒拉修的回应中找到了对应，该书写于与《密仪》大致相同的时期。在这段文本中，马克西姆提出，整个历史分为两个伟大的时期。第一个时期是上帝成为人。第二个时期是人成为上帝。第一个是道成肉身的时代。第二个是神化的时代。以下是文本内容：“上帝预定成为人的旨意所决定的时代的终结已经临到我们，因为上帝已经完成了他完美的道成肉身。我们现在等待那些将要到来的时代，以实现人类奥秘且不可言喻的神化，在其中上帝将向我们展示他良善的丰盛，在配得的人身上完全实现神化。那么，让我们在思想上将时代分开，一些留给神圣道成肉身的奥迹，另一些留给人类神化的恩典。我们将发现前者已经达到了其适当的终点，而后者尚未到来。简而言之，在这些时代中，前者属于上帝对人的降卑，而后者属于人对上帝的攀升。“这是一个极好的例子，说明马克西姆对受造物和普世历史的更广泛理解如何成为礼仪的框架，这不仅仅是一个宗教仪式或仪礼，而是一个真正的宇宙性事件。
[English] As you can see from the trajectory, trajectory here. that Maximus has been plotted. His understanding of the liturgy is animated by a strong sense of forward movement. through the historical life of . and into the life beyond into The eschaton, as we call it. a movement that he maps. across the longitudinal space. of the church. Now this movement begins with the entrance of the hierarch and the people into the church. It continues through the nave. with the petitions, antiphons. biblical readings, and gospel, after which it advances into the sanctuary. Coming to rest. at the altar table where Saint Maximus says, We are made worthy. of the visitation of God. and are united with Him. Now, here it’s helpful to recall the extent to which ancient liturgies were highly mobile affairs. characterized by organized movement across The sweeping lengths of… large basilicas. Let me quickly show you… just a few images. to illustrate. On your left here is the old St. Peter’s Basilica, which, for example, was over 700 feet. long. I’m not a sports fan, but I think that’s the length of two football fields. Here. starting on your left. is the Basilica Church of San Sabina in Rome. In the middle is the Archioachiropeitos in Thessaloniki. and on the far right Santa Maria Maggiore in also in Rome. all of them built in the fifth. century. liturgical entrances are also well illustrated in Byzantine art. as in the Minologion of Basil II on the left. the famous mosaic panels of Justinian and Theodora. in the church of San Vitale in Ravenna. depict the entrances of the imperial couple into the church. And note that Theodore is… gesture of offering is mimics the offering made of the Magi. poised and postured as she is. also holding these cups or bowls or dishes. which appear on the hem, as you can see. of her So the movement that Maximus describes is a progression. that traverses… The three performance… spaces of the liturgy. The knave. The sanctuary, which today we commonly call the… sanctuary, and finally the altar. As I mentioned a moment ago, Maximus equates these three liturgical spaces with the three stages of spiritual progress. It is this equation that allows him to fuse liturgical worship with the spiritual life. By the seventh century, the three stages of spiritual progress had become standard. among Greek ascetic and spiritual writers. In their simplest form. these three stages correspond to practice, contemplation, and theology. In the Mystagogy, Maximus calls the first stage moral philosophy. It is even more often referred to by him as practical philosophy. or simply by its adjective, which is of course the name of Evagrius’ famous work. Praxis. Praxis or practical philosophy. is the first step of the spiritual life. It consists of… keeping the commandments prescribed in the Gospel. For the most part, keeping the commandments requires a certain degree of asceticism. It requires the rejection of vice and the acquisition of virtue. Its goal, the goal of praxis now is to free the mind from its attachment to the world. So praxis is a… process of transformation, namely, the movement from vice to virtue. It gives spiritual meaning to the act of entering the church building. Here is a quotation from St. Maximus. We enter the church. he says, through the door of repentance. by making our lives better. by choosing virtue over vice. That is how one can truly be said to enter the church.
[中文] 正如你从轨迹中看到的，这里的轨迹。马克西姆的轨迹已被描绘出来。他对礼仪的理解被一种强烈的向前推进感所激发。穿过…的历史生命，并进入超越的生命，进入我们所谓的末世。他描绘了一个跨越教会纵向空间的运动。现在，这个运动始于主教和平信徒进入教会。它穿过中殿继续进行，伴随着祈求、对唱、圣经诵读和福音，之后它进入至圣所。在祭坛前停歇，圣马克西姆说，我们配得上帝的造访，并与祂合一。现在，回想一下古代礼仪在多大程度上是高度流动的活动是有帮助的。其特征是在大型长方形教堂的广阔长度上进行有组织的运动。让我快速给你看几张图片来说明。在你左边的是老圣彼得大教堂，例如，它有700多英尺长。我不是体育迷，但我认为那是两个足球场的长度。这里。从你的左边开始。是罗马的圣萨比纳大教堂。中间是塞萨洛尼基的阿基奥阿基罗佩托斯教堂。最右边也是罗马的圣母大殿。它们都建于五世纪。礼仪的入堂式在拜占庭艺术中也有很好的说明。如左边的巴西尔二世《月课经》所示。拉文纳圣维塔莱教堂中著名的查士丁尼和狄奥多拉马赛克画板，描绘了这对皇室夫妇进入教会的情景。请注意，狄奥多拉的…奉献手势模仿了东方三博士的奉献。她的姿态和姿势。也拿着这些杯子或碗或盘子。正如你所见，这些出现在她的衣摆上。因此，马克西姆描述的运动是一个进程。它穿过…礼仪的三个表演…空间。中殿。至圣所，今天我们通常称之为祭坛。这个词是至圣所。最后是祭坛。正如我刚才提到的，马克西姆将这三个礼仪空间等同于属灵成长的三个阶段。正是这种等同使他能够将礼仪崇拜与属灵生活融合在一起。到了七世纪，属灵成长的三个阶段已成为标准。在希腊苦修和属灵作家中。以它们最简单的形式。这三个阶段对应于…静观，和神学。在《密仪》中，马克西姆将第一阶段称为道德哲学。它甚至被他自己更常称为实践哲学。或者仅仅是它的形容词，这当然是艾瓦格瑞著名著作的名字。《实践》或实践哲学。是属灵生活的第一步。它包括…遵守福音中规定的诫命。在大多数情况下，遵守诫命需要一定程度的苦修。它要求拒绝恶习并获得美德。它的目标，实践现在的目标是将心灵从其对世界的依恋困境中解放出来。因此，实践是一个…转变的过程，即从恶习到美德的运动。它赋予了身体进入教堂建筑这一行为属灵意义。这里有一段圣马克西姆的引文。我们进入教会。他说，通过悔改之门。通过将我们的生活变得更好。通过选择美德而不是恶习。这就是如何才能真正说一个人进入了教会。
[English] Having made progress in practical philosophy, one is able to embark on the second stage, which is movement from ascetic practice to contemplation, known among these writers as natural contemplation, physical theory. With the mind having been purified through asceticism, the surface of creation begins to become transparent, and one no longer sees the world through the distorting lens of sinful passions and desires. Enlightened by the grace of the Holy Spirit, the mind gains a deeper insight into the nature of the world. It sees the presence of God in all things. It sees how all things are connected, both to each other and to God, because all things have come from God and all things are returning to God. Finally, the third and highest stage of spiritual progress is theology, which means union with God, which Maximus also calls theological mystagogy or mystical theology. Those who arrive at this stage are raised beyond the limits of created nature, and they attain a union with God that is beyond all sensory and rational apprehension, because they are now completely filled by the uncreated and deifying energy of God, and become God by grace.
[中文] 在实践哲学上取得进步后，人就能进入第二阶段，即从克修实践走向静观，这些作家称之为自然静观、物理理论。心灵通过苦修得到净化后，受造物的表面开始变得透明，人不再透过罪恶情欲和欲望的扭曲镜头来看世界。在圣灵的恩典的光照下，心灵对世界的本性获得了更深刻的洞见。它看到上帝的同在存在于万物之中。它看到万物是如何相互联系并与上帝相连的，因为万物都来自上帝，万物也都归向上帝。最后，属灵成长的第三个也是最高阶段是神学，即与上帝合一，马克西姆也称之为神学密仪或密意神学。达到这一阶段的人被提升到超越受造本性的界限，他们获得了超越所有感官和理性领悟的与上帝合一，因为他们现在完全被上帝非受造的、使人神化的能量所充满，并因恩典而成为上帝。
[English] With these ideas in mind, let’s now look at the passage that’s in question here, which is from chapter four of the Mystagogy. It’s somewhat lengthy and dense, but I think it merits quotation in full. We’ll start with just part of it. The church of God is like a human being, having the nave as its body, the sanctuary as its soul, and the divine altar as its mind. Through the body of its nave, the church sets forth moral philosophy. Through the soul of its sanctuary, the church spiritually explains natural contemplation, and through the mind of its divine altar, it enters upon mystical theology. And the quotation continues. Conversely, the human being is a mystical church. Through the nave of the body, a person cleanses by the virtues the practical part of the soul by actively keeping the commandments according to moral philosophy. Through the sanctuary of the soul, one brings as an offering—the word is proskomizonda, a very rich liturgical word—brings an offering to God through his reason, the principles of creation separated from matter according to natural contemplation. And through the altar of his mind—and this is a very difficult and complex passage, we struggled over it in the seminar—through the altar of his mind, he invokes by means of another silence, sonorous and diffusive, the silence richly hymned in the innermost sanctuaries of the unseen and unknowable resounding voice of the divinity. As far as is possible for human beings, he becomes conversant with that voice according to mystical theology, and becomes like one rendered worthy of God’s manifestation and marked by His shining glory. In this passage, the church has the form of a human being, and the human being has the form of a church. In this reciprocity between architecture and the body, the three performance areas of the church—the nave, the sanctuary, and the altar table—correspond respectively to the human body, the soul, and the mind. Moreover, the liturgical activities associated with these are… [truncated]
[中文] 带着这些想法，让我们现在来看看这里讨论的段落，它出自《密仪》第四章。它有些冗长且密集，但我认为值得完整引用。我们先从其中一部分开始。上帝的教会就像一个人，以中殿为身体，以至圣所为灵魂，以神圣祭坛为心灵。通过其中殿的身体，教会阐明了道德哲学。通过其至圣所的灵魂，教会在属灵上解释了自然静观，并通过其神圣祭坛的心灵，它进入了密意神学。引文继续。相反，人是一个奥迹的教会。通过身体的中殿，一个人通过按照道德哲学积极遵守诫命，用美德净化灵魂的实践部分。通过灵魂的至圣所，一个人献上——这个词是proskomizonda，一个非常丰富的礼仪词汇——通过他的理性，将根据自然静观与物质分离的受造物原理作为奉献献给上帝。而通过他心灵的祭坛——这是一个非常困难和复杂的段落，我们在研讨会上曾为此苦苦思索——通过他心灵的祭坛，他借由另一种响亮而弥漫的安静，在不可见、不可知的神性回荡之声的最内在的至圣所中，呼唤那被丰富颂扬的安静。在人类力所能及的范围内，他根据密意神学熟悉了那声音，并变得像一个被赋予上帝显现之资格并被祂闪耀的荣耀所标记的人。在这段话中，教会具有人的形式，而人具有教会的形式。在建筑与身体之间的这种互惠关系中，教会的三个活动区域——中殿、至圣所和祭坛桌——分别对应于人的身体、灵魂和心灵。此外，与这些区域相关的礼仪活动对应于在人类意识空间内内在进行的活动，该意识也有它自己的中殿、至圣所和祭坛桌。身体的中殿：身体的活动和人类心灵的活动都致力于圣马克西姆所称的道德哲学的实践，即遵守诫命。在灵魂的至圣所中，当一个人转向静观活动时，就会向更具认知性的层面转变。最后，通过心灵的祭坛，人的灵进入了密意神学的领域，即与上帝无中介的合一。值得注意的是，圣马克西姆在别处将这三个相同的阶段映射到教会等级制度的三个秩序上。那为自己的心灵涂抹圣油以进行神圣争战，并从中驱除充满情欲之念头的人，具有执事的品格。那用受造物的知识照亮自己的心灵并摧毁虚假知识的人，具有长老的品格。那以对可敬而神圣的三位一体的知识的圣膏油来完善自己心灵的人，具有主教的品格。正如这段话所表明的，马克西姆不仅将教会和身体的三重结构与属灵进展的三个阶段相对齐，还将教会的三个事工秩序：执事和主教相对齐。在这种对齐中，马克西姆有效地将苦修的属灵性与教会论融合在一起，为苦修提供了礼仪基础，并将礼仪的体验深化到超越单纯的外在仪礼和仪式的程度。这是一个我们稍后还会回到的问题。
[English] Now, as these passages suggest, the space of the ritualized body is neither static nor inert. For Maximus, space is always qualified by time, and thus by movement. We have then not simply a poetics or theory of space, for the poetics of time, or rather of both together, as the ritualized body advances in time across the space of a visible and invisible church. In the mystagogy, this, of course, is not strictly a liturgical movement in any narrow sense of the word. As we have seen, Maximus identifies movement through the three spaces of the church with the three classical stages of spiritual progress, which is the distinctive framework of the ascetic life. This means that the performance envisioned by the mystagogy is not simply a liturgical performance, but it is an ascetic and contemplative performance as well. The mystagogy then presents us with a synthesis in which liturgy is transplanted into spirituality, and which in turn is transplanted into liturgy. So that both, each one, liturgy and spirituality, each one is revitalized by its new context. Without liturgy, spirituality is in danger of devolving into spiritualism. While liturgy without prayer and asceticism would be empty ritual, ceremony without substance. It was the genius of Maximus the Confessor to recognize the danger of such a disassociation and integrate the inner movement of the spiritual life with the outward experience of the liturgy.
[中文] 现在，正如这些段落所暗示的，仪礼化身体的空间既不是静态的，也不是惰性的。对马克西姆来说，空间总是由时间来限定，因此也是由运动来限定。因此，我们拥有的不仅仅是空间的诗学或理论，而是时间的诗学，或者更确切地说是两者的共同诗学，因为仪礼化的身体在时间中穿越可见与不可见教会的空间而前行。在《密仪》中，这当然不是狭义上的严格礼仪运动。正如我们所见，马克西姆将穿越教会三个空间的运动与属灵进展的三个经典阶段等同起来，这是克修生活的独特框架。这意味着《密仪》所设想的践行不仅仅是礼仪的践行，也是克修与静观的践行。因此，《密仪》向我们展示了一种综合，其中礼仪被移植到属灵性中，而属灵性反过来又被移植到礼仪中。因此，两者中的每一个，礼仪与属灵性，都因各自的新语境而焕发活力。没有礼仪，属灵性就有退化为唯灵论的危险。而没有祈祷和苦修的礼仪将是空洞的仪礼，是没有实质的仪式。认信者马克西姆的天才之处在于认识到这种分离的危险，并将属灵生活的内在运动与礼仪的外在体验结合起来。
[English] Now, identifying liturgy and asceticism in this way does not eliminate or diminish their respective features or elements. To the contrary, liturgy is through the experience of ascetic practice and contemplation, while the renewal and the illumination of the mind in asceticism, these things are revealed. The ascetic life, in other words, is revealed in itself, in its depth, to be a sacrament. We’re still singing the Paschal Canon. You will feel the bread. Let us purify our senses. The Paschal Canon tells us, and we will see in the unapproachable light of the Lord of the resurrection, shining lightning. Thus is thesis. That’s the first step of praktiki. It’s right there, in one of the most beloved hymns of the entire ecclesiastical year. Now, combining the experience of liturgy with the three stages of spiritual progress also means that human beings have not only a priestly, but an ascetic vocation. Through practical philosophy and natural contemplation, the members of the church become, as it were, the priests of nature. Through the ascetic purification of consciousness, they discover the spiritual principles, the Logi, as Maximus calls them, of creation. And in light of those principles, they cultivate the gifts of creation and return them as a gift to God through the celebration of the liturgy. Through asceticism, believers are gradually freed from their impassioned attachments to the material dimension of created things. Once freed from the tyranny of surface appearances, the mind sees God as the intelligible ground of creation, revealing the unseen dimension of human and non-human nature and the deeper significance of the church and its liturgy. The purpose of the priestly and ascetic life is to transfigure the sensible aspect of creation, revealing God as the one in whom everyone and all things are united. The human priestly and ascetic vocation aims to actualize the potentials of nature in harmony with nature, and the purpose for which they were created.
[中文] 现在，以这种方式将礼仪与苦修等同起来，并不会消除或削弱它们各自的特征或元素。相反，礼仪是通过苦修实践和静观的体验，而苦修中心灵的更新和光照，这些事物才得以彰显。换言之，苦修生活在其自身深处被揭示为一种圣事。我们仍在唱着帕斯哈的圣颂典。“你们将触摸到那饼。让我们净化我们的感官。“帕斯哈的圣颂典告诉我们，“我们将看到复活之主那不可接近的光，如闪电般闪耀。“这就是神化。那是实践的第一步。它就在那里，在整个教会年历中最受喜爱的赞美诗之一中。现在，将礼仪的体验与属灵成长的三个阶段结合起来，也意味着人类不仅有祭司的呼召，也有苦修的呼召。通过实践哲学和自然静观，教会的成员可以说成了自然的祭司。通过意识的苦修净化，他们发现了受造物的属灵原则，即马克西姆所称的”道”。在这些原则的光照下，他们培育受造物的恩赐，并通过庆祝礼仪将其作为礼物归还给上帝。通过苦修，信徒逐渐摆脱对受造物物质层面的情欲依恋。一旦摆脱了表面现象的暴政，心灵便将上帝视为受造物的可理知根基，揭示了人类与非人类本性中不可见的维度，以及教会及其礼仪的更深层意义。祭司与苦修生活的目的是使受造物的可感层面变容，揭示上帝为万物与所有人合一于其中的那一位。人类祭司与苦修的呼召旨在实现本性的潜能，与本性相和谐，并实现其受造的目的。
[English] The paradigmatic expression of this process. can be seen in the gifts that are brought to the altar. at the Divine Liturgy. We do not place. wheat. and grapes. on the altar but rather bred and wine. That is, The gifts… of creation. by human art. and technology. And we returned them. to the Creator in that form, who responds to us. by transforming them into the body. and blood. This is not an… liturgical but rather a paradigm with far reaching implications. for all human. activity. transforming the gifts of creation. For example, would affirm and encourage human progress in the sciences. on the basis of wisdom. and reason. It would encourage and support the organization of the social world with greater justice. and compassion. and that would inspire artists to discover the spiritual potentials of matter. and express them. in monumental art and architecture. through their God-given talents, The architect and the iconographer. the stone cutter and the woodcarver, They discern. the mystical heart of creation. and with their artistic skill and insight, power creation. to join the magnificent cosmic chant. of the liturgy.
[中文] 这一过程的范式表达，可见于在圣礼仪上带到祭坛的礼物。我们不把麦子和葡萄放在祭坛上，而是饼和酒。也就是说，这是通过人类艺术和技术加工的受造物礼物。我们以这种形式将它们归还给创造者，创造者通过将它们转化为身体和血来回应我们。这不仅仅是一个礼仪的范式，而是一个对所有转化受造物礼物的人类活动具有深远影响的范式。例如，它将在智慧和理性的基础上肯定并鼓励人类在科学上的进步。它将鼓励和支持以更大的正义和同情心来组织社会世界。这将激发艺术家去发现物质的属灵潜能，并在不朽的艺术和建筑中表达它们。通过他们上帝赐予的才华，建筑师和圣像画家，石匠和木雕师，他们辨别出受造物的奥迹核心，并以他们的艺术技巧和洞察力，赋予受造物力量，使其加入礼仪的宏伟宇宙颂歌。
[English] This can be clearly seen. in the aesthetics of Orthodox. iconography. which avoids three-dimensional sculpture in favor of two-dimensional painting and mosaics. The removal of the third dimension, like the reduction of a sphere to a circle, serves to abstract or distance the figure from the mass and the volume of physical corporeality placing it on the continuum between matter and the Spirit on a point somewhat closer to the spirit. the same aesthetic. can be seen in Byzantine architecture. which uses… non-load-bearing curtain walls as they’re called. to conceal massive building support. So in other words, The ceiling of the dome of Hagia Sophia here is not being supported. on those walls. you see on either side, which are just delicate. The supports are behind those so-called curtain walls. So it creates the appearance of extraordinary lightness for this unbelievably enormous structure structural design is reinforced. through the interior surfaces. which are lush, and reflective. Ceilings are covered with acres of gold mosaic. Walls and floors are covered with polychrome marble and inlays, so that the structural supports lose their appearance of mass and wait. and vanish behind the reflective and patterned surfaces. So too, deeply carved. marble capitals of the columns. Which look, the lightest of lace baskets. impossibly supporting tons of solid stone. This harmony of technology and design This transformation of the material world by the spirit is perhaps most effectively seen in the use of light. as a fundamental ingredient in the architecture of Hagia Sophia. The apparent weightlessness of the dome is an effect created by a ring of windows. that pierced the base of the vault. at the very place where it begins to rise. curve over the nave. forming a luminous crown. that lifts the dome from the rest of the structure. The overall effect is the spiritualization of matter. so that the entire structure is an icon. of the material world. alive. pulsating with divine energy. Through the celebration of the liturgy, and in the physical body of the church building, the gifts of creation are transformed. and returned to the Creator. With thanksgiving. Following the paradigm of the Eucharist. And the words of offering “Thine own of Thine own”. In other words, your own gifts. Your own gifts of these we offer to you. This is the love of God. The response of man with his own gifts. God accepts. Both in the hidden space of the sanctuary. And in the hidden places of the heart.
[中文] 这一点可以清楚地看到。在东正教圣像画的美学中，它避免三维雕塑，而倾向于二维绘画和马赛克。第三维度的去除，就像将球体简化为圆形一样，起到了将人物形象从物理肉体的质量和体积中抽象出来或拉开距离的作用，将其置于物质与灵之间的连续体上，处于稍微靠近灵的一点。同样的美学也可以在拜占庭建筑中看到。它使用……所谓的非承重幕墙。来隐藏巨大的建筑支撑。换句话说，这里的圣索菲亚大教堂穹顶的天花板并没有得到支撑。在那些墙上。你在两侧看到的，只是精致的。支撑物在那些所谓的幕墙后面。因此，它为这个令人难以置信的巨大结构创造了非凡轻盈的外观。结构设计得到了加强。通过内部表面。这些表面郁郁葱葱，且具有反光性。天花板覆盖着成英亩的金色马赛克。墙壁和地板覆盖着多色大理石和镶嵌物，使得结构支撑失去了其质量和重量的外观。并消失在反光和有图案的表面后面。同样，雕刻极深的大理石柱头。看起来就像最轻的蕾丝篮子。不可能支撑着数吨重的坚硬石头。这种技术与设计的和谐，这种灵对物质世界的转变，也许在光的使用中最为有效。光是圣索菲亚大教堂建筑的基本要素。穹顶明显的失重感是由一圈窗户创造的效果。这些窗户穿透了拱顶的底部。就在它开始升起的地方。在中殿上方弯曲。形成一个发光的冠冕。将穹顶从结构的其余部分托起。整体效果是物质的属灵化。使得整个结构成为一个圣像。物质世界的圣像。活着。因上帝的能量而脉动。通过礼仪的举行，以及在教堂建筑的实体中，受造物的恩赐被转变。并交还给创造者。怀着感恩的心。遵循圣体圣事的范式。以及奉献的话语”属于你的归于你”。换句话说，你自己的礼物。你自己的礼物中这些我们献给你。这是上帝爱的礼物。人类以自己的礼物作为回应。上帝接受了。无论是在至圣所隐藏的空间中。还是在内心隐藏的地方。
[English] Conclusion. Maximus the Confessor’s Mystagogy is dense, offering a fascinating interpretation of the Divine Liturgy, the symbolism of the church building, and the transformative liturgical experience of the faithful in their progress toward deification. Intended primarily for cultivated lay and monastic readers, the Mystagogy effectively joins liturgical theology with ascetic practice and contemplation, showing the profound relevance and indeed necessity of the one for the other in the Mystagogy. The structure of the human person is associated with the church, and the structure of the church with the human person, the sanctuary of whose soul is filled with light. So through this fusion of symbolic forms, Maximus the Confessor presents us with a new understanding of both the church and the human person. Liturgical life and experience embody a new humanity and a profound connection between Christian anthropology and Christian liturgy. As we have seen, St. Maximus understands the visible church as an outward representation of the invisible church of the heart. The physical church is the visible manifestation of an existential structure that exists in the soul. And without the structure of the church, one might never know the structure of the soul. But without inner experience, one would have no experiential knowledge of the truth of the church’s nature and purpose. And this mutual interiority of the church and the human person is not a metaphor. It’s not a psychological phenomenon, and it’s not the product of an overly pious religious imagination. To the contrary, it expresses the deep existential content of the human person transformed by grace. Saint Maximus’ insight, according to which the structures of human consciousness are projected into the architecture of the church building and the structures and sacraments of the church are projected into human consciousness, constitutes nothing less than an ontological refashioning of human life and experience. We can properly call this an ecclesialization of the human person, by the voluntary, liturgical, and contemplative reception of the Spirit, such that the life of the church becomes the content of one’s thought and action. Indeed, the very content of one’s body and soul.
[中文] 结论。认信者马克西姆的《密仪》内容深奥，对圣礼仪、教会建筑的象征意义，以及信徒在迈向神化的过程中具有转变性的礼仪体验，提供了引人入胜的诠释。《密仪》主要面向有修养的平信徒和修道读者，它有效地将礼仪神学与克修实践和静观结合起来，展示了在《密仪》中两者之间深刻的关联性，甚至可以说是必要性。人的结构与教会相关联，教会的结构也与作为人相关联，其灵魂的至圣所充满了光芒。因此，通过这种象征形式的融合，认信者马克西姆为我们呈现了对教会和人的一种新理解。礼仪生活和体验体现了新的人性，以及基督教人论与基督教礼仪之间的深刻联系。正如我们所见，圣马克西姆将有形的教会理解为内心无形教会的外在表现。有形的教会是存在于灵魂中的存在结构的可见彰显。如果没有教会的结构，人们可能永远无法认识灵魂的结构。但如果没有内在体验，人们就无法对教会本质和目的的真理获得体验性的认识。教会与人之间的这种相互内在性并不是一个隐喻。它不是一种心理现象，也不是过度虔诚的宗教想象的产物。相反，它表达了被恩典转变的人的深层存在内容。圣马克西姆的洞见——即人类意识的结构被投射到教会建筑的架构中，而教会的结构和圣事被投射到人类意识中——构成了对人类生活和体验的本体论重塑。我们可以恰当地将此称为通过自由、礼仪性、静观地领受灵而实现的人的教会化，使得教会的生活成为一个人思想和行动的内容。事实上，甚至成为一个人身体和灵魂的内容。
[English] Many years ago, a Christian living under communism was interviewed on a Western European television program. And when she was asked if Christianity made her happy, she replied, You’re not a Christian so that you can be happy. You’re not in the church to be happy, but to be alive.
[中文] 许多年前，一位生活在共产主义制度下的基督徒在西欧的一个电视节目中接受了采访。当被问及基督教是否让她感到快乐时，她回答说：“你成为基督徒不是为了快乐。你在教会里不是为了快乐，而是为了活着。”