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The First Council of Nicea (325 CE) established theological foundations that continue to shape Christian doctrine, particularly in its articulation of Trinitarian faith and ecclesial unity. However, the relevance of Nicene theology in contemporary Asian contexts extends beyond doctrinal formulations to include liturgical expressions, social engagement, and artistic theology. This study explores how these dimensions converge in the glass window paintings of the old Church of Santa Theresia Salam (GTSL), designed by Y.B. Mangunwijaya, a renowned Indonesian Catholic priest, architect, and humanist.
Mangunwijaya’s artistic and theological vision reflects an Asian reception of Nicene theology, wherein faith in action and liturgical devotion form a unified reality. Through semiotic analysis based on Umberto Eco’s framework, this research examines how the visual signs in the stained-glass paintings create a “space of encounter” between the divine (worship and glorification of God) and the human (concern for justice and social dignity). The study argues that these artistic representations embody a contextual theology that bridges Nicene orthodoxy with contemporary challenges in Asia, including secularism, interreligious dialogue, and social transformation.
By situating Mangunwijaya’s aesthetic-liturgical work within the discourse of Nicene theology, this paper contributes to the conference’s exploration of the interplay between liturgy, social justice, and faith in action. It highlights how art, as a theological medium, can incarnate Nicene faith in ways that are both worshipful and socially transformative, offering insights into the ongoing inculturation of Christian orthodoxy in Asia.

Nicene Theology, Artistic Theology, Liturgical Expression, Social Justice