About the Comunità Regina della Pace Altars
Bethlehem, Holy Land
"Jerusalem Triptych" in its visual symbolism refers to the Apocalypse of St. John. In the central part of the closed altar, on the plan of the Holy Sepulcher, the cross is shown as the "key" that opens the gate to the Heavenly Jerusalem. Next to it, in the form of a subtle bas-relief, the figure of St. John Paul II celebrating the Holy Eucharist emerges from the background. The squares around the scene symbolize the colonnade in the Tomb of Christ divided into 12 - a number referring to the twelve Apostles or the 12 tribes of Israel. Above the plan of the Holy Sepulcher the Throne of Grace is shown. Jesus Christ - the High Priest, supported by God the Father is there. The sides marking the square symbolize the walls of Jerusalem with twelve gates, four on each side. In each of them, naturally formed into the sign of the cross, pearls are placed. The opening of the Triptych is a symbolic passage through Christ the Gate to Heavenly Jerusalem. In the center of the illuminated interior, the Mother of God shines with special radiance, pointing to the Eucharistic Christ who is the "Way" to salvation and the "Fountain of Peace." On the wings of the open Triptych Two Witnesses "like two olive trees, like two candlesticks," are depicted. These figures show the vocation and the task of all Christians over 2,000 years. The crowns of these symbolic trees-candlesticks form a variety of crosses, showing the diversity of Christ's Church, which is its richness, and at the same time they grow from one trunk of Christian faith.
Oziornoje, Kazakhstan
“The Star of Kazakhstan” Altar of Adoration is a unique pentaptych that artistically represents the unfathomable mystery and depth of Divine Mercy. Its comprehensive and rich spiritual inspiration primarily comes from the Gospel of St. Luke, known as the Gospel of Mercy, as well as from “The Roman Triptych – Meditations” by Saint John Paul II. The closed altar panels depict the modern-day apostles of Divine Mercy, Saint Faustina and Saint John Paul II. The figures of Abraham and Isaac, demonstrating the story of the trial to which Abraham was subjected when God demanded the sacrifice of Isaac, his only son, are also shown. Upon opening the altar, there is a monstrance in the center in the shape of Mary cradling her Son - the living Eucharistic Christ. Mary's mantle is woven from a net in which fish can be found. This is both a sign of Christianity and a symbol alluding to a miracle of a lake full of fish which appeared to save the inhabitants of this land from an inevitable death by starvation during the years of the Patriotic War. The lake's appearance, as a fruit of fervent rosary prayer, is symbolized by the ruby rosary entwining the robe. On the wings of the open triptych, in reference to the vision of St. John, the Two Witnesses are depicted, who "like two olive trees, like two candlesticks" in their prophetic vision show the vocation and task of all Christians over 2,000 years. The crowns of these trees use Kazakhstan's symbolism of peace and home. The witnesses also demonstrate the richness and beauty of Christ's teaching that unites, in love, all peoples and nations while at the same time appreciating their cultural diversity.
Medjugorje, Bosnia & Herzegovina
The crystal monstrance, entitled “Our Lady Queen of Peace,” was donated by pilgrims from Poland to the Church of St. James in Medjugorie in 2011, on the 30th anniversary of the Marian apparitions. Designed as an open vessel, the monstrance illustrates Mary as the one who carries Jesus beneath her Heart and contains rich iconographic symbolism. The 12 meteorites – material of extraterrestrial origin – that adorn the monstrance allude to the apocalyptic image of Mary as: "A woman clothed with the sun, and the moon under her feet, and on her head a crown of twelve stars." The colors of the gemstones used have specific meanings. White symbolizes purity and eternal glory, yellow emphasizes the majesty and glory of God; green, virginity and hope; and blue represents faithfulness, impeccability and direct communing with God.
Yamoussoukro, Ivory Coast
The essential element that makes up the "Donum Caritas et Pax" (Gift of Love and Peace) adoration altar is the life-size Shroud of Turin, called the "Fifth Gospel." It was engraved in crystal, and the light that refracts in its structure reveals the figure of Christ. Pope John Paul II at the Holy Linen display in Turin said: "Accepting the arguments of many scholars, the Holy Shroud of Turin is a special witness of the Passover: the Passion, Death and Resurrection. A silent but surprisingly eloquent witness.... The Shroud is a mirror of the Gospel.” In the encyclical "Dives in misericordia," Pope John Paul II strongly emphasizes the role of Mary, who – as the Mother of Mercy – experienced this mercy in a special and unique way. Our Lady, depicted in the Altar, is clothed in a fragment of the Shroud. Therefore, just like in the Pietà, she is a fellow sufferer. The Mother of God points to the Eucharist with a gesture of her hand to convey the truth of the resurrection of her Son. Knowing this truth, we can come to Him, entrust ourselves to Him. He is the Prince of Peace, and He will surely fill our hearts with His peace. The altar is decorated with numerous precious stones, including jasper, which symbolizes the tribes of Judah, of which Jesus was born. From the Eucharist, rays of red and white precious stones (rubies and zircons) spread out, symbolizing the graces of Merciful Christ.
Namyang, South Korea
The Altar of Adoration of the Eucharistic Jesus entitled “In Unity and Peace” alludes to its symbolism in the Book of Revelation of St. John. "Heavenly Jerusalem" is depicted as a city with twelve gates – according to the number of generations of the Chosen People. The closed altar is in the shape of a square, whose frame symbolizes the walls surrounding the city. On each side there are three gates leading to the interior. The upper part depicts the Throne of Grace: God the Father supporting the Body of His Son, taken down from the cross. At the bottom, the figures of the archangels are depicted. In the center of the closed altar, there are twenty columns placed on the symbolic plan of the Holy Sepulcher. In the center there are two figures: St. John Paul II celebrating the Eucharistic Sacrifice and Our Lady of Fatima. They refer to the 100th anniversary of the Fatima apparitions (celebrated in 2017) through which Mary pointed to the prayer of the rosary as the one capable of saving humanity from annihilation. Surrounding the plan of the Holy Sepulcher, there are choirs of angels praising the Lord, and outside, there are crosses of various Christian denominations, indicating unity in diversity. When the altar is opened, the life-size Shroud of Turin – a "Witness to the Resurrection" can be seen. Reflected on it is the figure of Christ, two traces of one Person, as the "obverse" and "reverse," which can be read as a sign of the divided Korean Nation. Pope John Paul II said that: "The Holy Shroud of Turin is a special witness of the Passover: the Passion, Death and Resurrection.” Perhaps, then, the prayer brought to Christ by Mary will become that first and perhaps most important bond which in the spirit of God's love will lead to the “resurrection” of unity between men? And it is He - the Eucharistic Christ - who is placed at the center of the altar, in a monstrance in the shape of Mary. It is an iconographic reminder of the truth that it was She who was the first “monstrance”, the first “tabernacle”. Mary is hugging the Eucharistic Son, and Her figure is surrounded by a rose bush, symbolizing the Shrine of Our Lady of the Rosary in Namyang. The five golden roses signify the five mysteries of the rosary, and the seven amber roses refer to the rosary of the Seven Sorrows of Mary.
Kibeho, Rwanda
The altar "Light of Reconciliation and Peace" is square in shape. Its shape alludes to the walls of Jerusalem and the city of the twelve gates mentioned in the Book of Revelation. These gates are described as "pearls" and are depicted on the altar in the form of crosses made of pearls. The panels of the Triptych show the mysteries of the Rosary of the Seven Sorrows of Mary, God the Father carrying the Body of His Son after being taken down from the Cross, and the Four Horsemen of the Apocalypse. The Apostles of Divine Mercy, Saint Faustina and Saint John Paul II, are depicted in the center, in the Burning Bush. The Saints’ relics are placed there as well. Upon opening the altar, a monstrance in the shape of Mary cradling her Son, the Eucharistic Jesus, is visible in the central space. The apparitions at Kibeho mention certain symbols, e.g. fields of flowers, which the visionaries watered at the request of the Virgin. The more conversions there were, the more the field of flowers expanded. Therefore, Mary's robe is woven with flowers. At the top of the open altar, Rwandan symbols can be seen floating towards the sky, which also resemble the lines of an electrocardiogram - a sign of a heart beating in prayer, a heart which needs the Light of Christ that allows for authentic reconciliation and true peace.
Niepokalanów, Poland
The “Star of the Immaculate” altar in the Basilica at Niepokalanów was inspired by the teachings of Saint John Paul II, particularly in his encyclicals "Redeptoris Mater" and "Ecclesia de Eucharistia," as well as the life testimony of Saint Maximilian Kolbe, who dedicated his life to conquering the world for Christ through the Immaculate. The Virgin Mary is in the center of the altar with her hands open, facing the faithful in a gesture of invitation to remain in prayer before the Blessed Sacrament. The Eucharistic Christ is placed beneath Mary's heart in a large, illuminated host displayed from beneath the Immaculate's billowing robes. The Blessed Mother is depicted as the gateway leading to Christ. She does not obscure the radiance of His love, but leads us toward it. A wreath of lilies is entwined around the silver figure of the Blessed Virgin Mary, a symbol of purity and directly referring to her Immaculate Conception. These life-size flowers are made of silver, a material symbolizing purity. There are also lilies of the valley flowers, carved and illuminated in crystal. The sun's rays surrounding the Immaculate, form a luminous, almost immaterial glow, like that in which Mary appeared during the apparitions at Lourdes, Guadalupe, and Fatima. Lily flowers in iconography are a symbol of Mary, pointing to her innocence, purity and modesty. Lily of the valley are flowers whose flowering time falls in the month of May, the month set aside by the Catholic Church to honor Mary. There are 12 cut stones surrounding Mary referring to the reverse side of the Miraculous Medal of the Immaculate, so dear to Saint Maximilian, and symbolizing the 12 stars from St. John's apocalyptic vision. Immaculate also means beautiful. It is for this reason that she has become a source of awe, arousing new strength in people, new motivation to live, work, fight evil and sin, and encouraging daily resurrection. Beauty is the embodiment of love, a source of encouragement for effort and creative struggles for a better shape of life.