填补空白

S. Harper
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引用次数: 0

摘要

1893年,盐湖神庙接近完工,其中最神圣的地方安装了彩色玻璃窗,描绘了约瑟夫·史密斯的第一个异象。像其他19世纪晚期的选择者和相关者一样,那些用彩色玻璃描绘约瑟夫·史密斯在盐湖城圣殿的第一个异象的人,比不连贯更能容忍不准确,但他们的目的不同。克里斯滕森创作了音乐,曼沃林描绘了这一景象,这样圣徒们通常就能内化一个连贯的版本,在他们现在看来是有意义的。把彩色玻璃放在最神圣的圣殿空间当然也做到了这一点,但附带的效果是将空间神圣化,提升视觉,赋予它更多的意义,并在时间和神学上都标志着它在摩门教叙事中的第一位置。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Filling the Void
In 1893, as the Salt Lake temple neared completion, the holiest space in it was finished with a stained-glass window depicting Joseph Smith’s first vision. Like other late-nineteenth-century selectors and relaters, those who put a stained glass depiction of Joseph Smith’s first vision in the Salt Lake temple tolerated inaccuracy better than incoherence, but their objective differed. Christensen composed music and Manwaring painted about the vision so saints generally could internalize a coherent version of it that made sense in their present. Putting stained glass in the holiest temple space certainly did that too, but with the added effect of sacralizing the space and elevating the vision, endowing it with more significance, and signifying its first place in the Mormon narrative both chronologically and seminally.
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