By Marlynda Meraw
Read Part 1 here.
STAINED glass windows have a rich history dating back to ancient times, where they were used primarily in religious buildings to convey stories from religious texts and showcase their glory in divine light.
This tradition evolved over centuries, becoming a prominent feature in Gothic cathedrals during the Middle Ages, where their complex designs and vibrant colours illuminated sacred spaces and inspired worshippers with their beauty and symbolism.
In the case of St Peter’s Church, Padungan, the incorporation of stained-glass windows serves as a continuation of this historical legacy, taking inspiration from the previous design of St Joseph’s Cathedral, Kuching—each window carefully crafted to depict the biblical narratives of Jesus Christ’ life as well as the patron saint of the church, creating visual narratives that enhance the spiritual atmosphere of the church and connects worshippers to their faith traditions.
Throughout our visit, one of the priests at St Peter’s Church, Father Vincent Chin, regaled us with tales of the stained-glass windows, highlighting the one of St Peter above the main entrance as the magnum opus, serving as the centrepiece and largest piece of stained glass in the entirety of the church.
This magnificent panel, according to Father Chin, stands proudly at a towering height of approximately 11 metres, representing both the glory of St Peter’s presence and the craftsmanship of its creation, with a price tag of RM600,000, making it the most expensive panel within the collection.
“You see, St Peter is at the centre and surrounding him are four evangelists, namely Luke (symbolised by an ox), Mark (symbolised by a lion), John (symbolised by an eagle), Matthew (symbolised by a man) on one side, and four prophets from the Old Testament who are Moses, Jeremiah, Ezekiel, and Daniel,” he explained.
Father Chin then guided us through the Stations of the Cross, a series of 22 stained-glass panels portraying pivotal moments in the life of Christ, commencing with the poignant scene of the ‘Woman at the Well’ and culminating in a depiction of the transformative encounter between Christ and two of his disciples in the ‘Road to Emmaus’, illuminating the early-morning resurrection appearance of Christ following his crucifixion and discovery of his empty tomb.
The stained-glass windows are not only distinctive to the local community but also hold profound significance, particularly for the Dayaks as it embodies designs that are rich in cultural meaning.
“We (St Peter’s Church) incorporated local designs in which the cross on the stained glass has Dayak motifs within it,” explained Father Chin, gesturing towards several windows bearing with these distinctive motifs.
It is truly remarkable—the seamless integration of culture into religion represents a powerful symbol of unity and harmony among the people, signifying the importance of embracing diversity within the spiritual realm.
Crafting beauty: The priceless passion and seasoned expertise behind the stained glass
St Peter’s Church transcends the ordinary as it stands adorned with exquisite stained glass—a tribute to the artistic collaborations meticulously crafted with the skilled hands of two Italian maestros, Roberto Fasoli and Ernesto Reducci.
We were incredibly fortunate to have the opportunity to interview the two skilled glaziers as they are currently working onsite.
We were warmly greeted by both artisans, with Fasoli graciously offering insights into the intricacies of their craft, as Reducci diligently worked, skillfully assembling the individual pieces of stained glass to form a cohesive and breathtaking window panel.
Fasoli provided us with a brief overview of the storied history of the stained-glass trade, noting that while much remains unchanged, advancements such as the introduction of electricity and modern ovens have revolutionised the process, particularly in fusing the powdered glass onto the panels.
“This job is quite old-fashioned—taken from the old times—and not much has changed except for electricity and ovens that take a shorter time to heat up. Basically, much is still the same as what our ancestors did,” explained Fasoli.
We were then led to his work area, where he painstakingly applies detailed designs onto the glass—a process he described as more of a reverse technique to drawing. Here, he coats the glass with powdered pigment, then fires it in the oven to fuse with the glass, and finally delicately brushes off the powder to make the ‘painting’.
“You brush off the powder to see where you want the light, not where you want the shadow, in order to create the image,” he explained and demonstrated the procedure on a light table. The spectacle was captivating, particularly because Fasoli’s workspace was dimly lit, necessitating the use of a light table to discern how his glass ‘canvas’ would reflect light precisely where he intended it to be.
As our conversation progressed, we realised that Fasoli epitomises the sentiment captured in a timeless adage widely attributed to Marc Anthony—‘If you do what you love, you’ll never work a day in your life’—about the profound fulfilment that comes from pursuing one’s passion.
“Money is part of the job, but some of it is the satisfaction. Something beyond money. Doesn’t matter how much money (I) make, but (I) put all (my) best because this is what I like to do.
“It is a satisfaction because when people appreciate my job, there is a value (to it). It is (beyond) the job,” Fasoli said and explained that due to the prevalence of the Gothic style in Europe, it is often underappreciated, whereas in Asia, it is highly esteemed for its distinctiveness and revered aesthetic.
Later, we moved on to the front area, and with Reducci’s assistance, Fasoli demonstrated the intricate process of glass cutting—an endeavour often deemed straightforward in theory but challenging in practice—yet with Reducci’s seasoned expertise, the task seemed effortless.
With a swift motion, Fasoli snapped a piece of glass into pieces after meticulously slicing it with a glass cutter, revealing a clean cut honed by years of practice, proof of the precision required in a task that could easily result in shattered glass in the hands of someone less skilled and experienced.
“Every glass is cut manually one by one using a glass cutter. Seems easy, but it is not easy,” Fasoli explained.
“The exact shape must be followed, otherwise you cannot fix the pieces together.”
The sheer magnitude of time invested becomes apparent when considering that each piece of glass is cut by hand, leaving us in awe of the dedication and effort poured into the craftsmanship.
“This job is easy to explain, but doing it requires a lot of practice. What is considered secret is actually experience.”
Fasoli’s statement resonates deeply, particularly considering his 40 years of dedication in the trade, complemented by Reducci’s 30 years of experience.
St Peter’s Church emerges not merely as a place of worship, but as evidence to the extraordinary collaboration between artistic vision and skilled craftsmanship, with its exquisite stained-glass windows serving as testament to Fasoli and Reducci’s dedication. The incorporation of Dayak cultural motifs into the windows’ design imbues the church with both religious and cultural significance, making it a profoundly meaningful place where spirituality and heritage converge. — DayakDaily
Read Part 1 here.
