n the architecture of Cistercian monasteries light and shadow play an important role. As a rule, Cistercian architecture was simple and austere so that nothing would distract a monk from focusing on reflecting on God’s Word or private prayer. The figures of saints of any kind and paintings and coloured stained glass were forbidden, only the shades of one colour were used. A monk was supposed to pay as little attention to the visible images of the earthly world as possible so that he would seek the eternal instead of the worldly things and his mind would be open to the invisible. Simple forms and balanced proportions were to reflect the perfection of God’s universe and draw the monk’s attention. Such monastic surroundings were important: the objects would allow the monk to contemplate the light, similar to the light of creation, which is the divine light described at the beginning of John’s Gospel. The play of light and shadow enhance Cistercian architecture in its simplicity, contributing to the beauty of the mystery of God becoming Man: the light is never too bright; there is never too much of it, and natural light is used as part of architectural space. The shadows emphasise the eternal nature of light and the bringing of light into people’s lives. The play of light in space symbolises the presence of God. God became flesh and the eternal light has made itself visible to us. Thus, Cistercian church architecture reveals the beauty of the earthly world. These churches are never excessively big, and their quadrangular plan contains both the vaults symbolising heavenly life and some ordinary rooms symbolising the earthly world.
