出典(authority):フリー百科事典『ウィキペディア(Wikipedia)』「2016/05/21 23:59:49」(JST)
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A monstrance, also known as an ostensorium (or an ostensory),[1] is the vessel used in Roman Catholic, Old Catholic and Anglican churches for the more convenient exhibition of some object of piety, such as the consecrated Eucharistic host during Eucharistic adoration or Benediction of the Blessed Sacrament. It is also used as reliquary monstrance for the public display of relics of some saints.[2] The word monstrance comes from the Latin word monstrare,[3] while the word ostensorium came from the Latin word ostendere. Both terms, meaning "to show", are used for vessels intended for the exposition of the Blessed Sacrament, but ostensorium has only this meaning.[2]
In the Catholic tradition, at the moment of consecration the elements (called "gifts" for liturgical purposes) are transformed (literally transubstantiated) into the body and blood of Christ. Catholic doctrine holds that the elements are not only spiritually transformed, but are (substantially) transformed into the body and blood of Christ. Although the elements retain the appearance, or "accidents," of bread and wine, they become the body and blood of Christ. The presence of Jesus in the Eucharist is known as the doctrine of the Real Presence within the Roman Catholic tradition. Other Christians (notably Anglicans, Old Catholics, Mar Thoma, and Lutherans) accept the doctrine of the Real Presence, whilst rejecting transubstantiation as a philosophical concept. Owing to these beliefs, the consecrated elements are given the same adoration and devotion that Christians of these traditions accord to Christ himself.
Within churches of these traditions the reserved sacrament serves as a focal point of religious devotion. In many of them, during Eucharistic adoration, the celebrant displays the sacrament in the monstrance, typically on the altar. When not being displayed, the reserved sacrament is locked in a tabernacle (more common in Roman Catholicism) or aumbry (more common in the other traditions mentioned).
In the service of Benediction, the priest blesses the people with the Eucharist displayed in the monstrance. This blessing differs from the priest's blessing, as it is seen to be the blessing by Christ rather than that of the individual priest. The exposition of the monstrance during Benediction is traditionally accompanied by chanting or singing of the hymn Tantum Ergo.
Monstrances are usually elaborate in design; most are carried by the priest. Others may be much larger fixed constructions, typically for displaying the host in a special side chapel, often called the "Chapel of the Blessed Sacrament". For portable designs, the preferred form is a sunburst[4] on a stand, usually topped by a cross.
Medieval monstrances were more varied in form than contemporary ones. Those used for relics, and occasionally for the host, typically had a crystal cylinder in a golden stand, and those usually used for hosts had a crystal window in a flat-faced golden construction, which could stand on its base. The monstrance was most often made of silver-gilt or other precious metal, and highly decorated. In the center of the sunburst, the monstrance normally has a small round glass the size of a Host, through which the Blessed Sacrament can be seen. Behind this glass is a round container made of glass and gilded metal, called a luna, which holds the Host securely in place. When not in the monstrance, the Host in its luna is placed in a special standing container, called a standing pyx, in the Tabernacle. Before the current design, earlier "little shrines" or reliquaries of various shapes and sizes were used.
When the monstrance contains the Host, the priest will not touch the vessel with his bare hands. Out of respect, he holds it with a humeral veil, a wide band of cloth that covers his shoulders (humera) and has pleats on the inside, in which he places his hands.
Ca. 1400. Gift of Władysław Jagiełło to the Corpus Christi Church in Poznań, Poland.
Monstrance given to the Monastery of Alcobaça by Dom João Dornelas in 1412, with some later additions during the baroque period, National Museum of Ancient Art, Portugal.
Gold and enamel monstrance made in 1506 by Gil Vicente, and offered by king Dom Manuel I of Portugal to the Jerónimos Monastery. Nowadays in the National Museum of Ancient Art, Portugal.
Mostrance of silver-gilt Ca. 1517 Cathedral of Toledo. Spain.
Monument with a Monstrance in Rybnik, Poland in front of the Church of St. Laurence.
a 16th-century design for a Monstrance by Daniel Hopfer.
The large Patriarchal Monstrance was a gift from king D. João V to the Patriarchal Cathedral of Lisbon, and is made of solid gold, diamonds, rubies, sapphires and emeralds. It was commissioned in 1748 and finished in the second half of the 18th century, Lisbon Cathedral Museum, Portugal.
Monstrance from the museum in Pelplin, Poland.
18th century Portuguese silver gilt and gems, National Museum of Ancient Art, Portugal.
Monstrance from the museum of the Melk Abbey, Austria.
Fixed monstrance in the Old Catholic church in Oudewater, the Netherlands.
Polish Rococo monstrances.
18th century monstrance from the Bemposta palace chapel National Museum of Ancient Art, Portugal.
Late 18th to early 19th century 1,30 metres monstrance Asilo de Inválidos Militares de Runa, Portugal.
Reliquary monstrance, True Cross, Toulouse
Reliquary monstrance. Cathedral Treasury, Cologne, Germany.
Monstrance with a relic of Saint Rita of Cascia at the Minalin Church in Pampanga, Philippines.
A relic of Saint Augustinus at the Minalin Church in Pampanga, Philippines.
Saint Isidore the Laborer relic at the St. Isidore Church in Talavera, Nueva Ecija, Philippines.
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