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Journal articles on the topic 'Sacred architecture and symbols'
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1
Gojnik, Zorana Sokol. "Space as Symbol in Sacred Architecture. The Problem of Christian Sacred Architecture." Resourceedings 2, no. 3 (November 12, 2019): 136. http://dx.doi.org/10.21625/resourceedings.v2i3.638.
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In contemporary research (theoretical and architectural projects) of Christian sacred architecture it has been observed that there is a lack of understanding of the phenomenon of space as one of the symbols of sacred architecture.The goal of this paper is to point out the importance of observing the space (architecture) as a sacred symbol, because a problem has been recognised, dealing with the lack of fundemantel definition in the interpretation of the sacred space.In this paper, the research will be carried out by a comparative analysis of the religious concepts of the great religions of Hinduism, Buddhism, Judaism, Christianity, and Islam, as well as their materialisation through space.The expected result of the research is to confirm the hypothesis that space, as well as rituals, images, artistic works, etc. in sacred architecture has the role of a symbol. Space has the task of keeping the basic concepts of religions and of being a mediator of the experience of faith.
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Lake, Reginaldo Christophori. "SIMBOL DAN ORNAMEN-SIMBOLIS PADA ARSITEKTUR GEREJA KATOLIK REGINA CAELI DI PERUMAHAN PANTAI INDAH KAPUK-JAKARTA." Idealog: Ide dan Dialog Desain Indonesia 4, no. 1 (April 28, 2019): 23. http://dx.doi.org/10.25124/idealog.v4i1.1932.
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The Catholic Church building always displays symbols and ornaments as an expression of religious (sacred) faith and atmosphere. Symbols in the form of two-dimensional and three-dimensional objects arranged and beautified the church as well as religious significance. Symbols and ornaments are placed inside the church (interior) and outside the church (exterior), function to support the atmosphere of the church visually and help appreciate aesthetic, psychological and religious faith. Regina Caeli Catholic Church in Pantai Indah Kapuk Jakarta is a Catholic church that is characterized by modern architecture and features symbols and ornaments on the interior and exterior of the church. This paper describes the existence of symbols and ornaments -symbols in the church associated with obedience to the principles of modern architecture that underlies the design of the church. The research problem is how the existence of symbolic symbols and ornaments in the Regina Caeli Catholic Church, which are modern-minimalist architecture? The study was carried out by analyzing secondary data (photos and texts) and literature studies, then compared with the basic guidelines of Catholic church architecture and the principles of modern architecture. As a result, Regina Caeli's Catholic Church architecture is a modern architecture with a modern-minimalist expression. The existence of a symbol of the cross marks the existence of a Catholic church visually, the interior ornaments strengthen the uniqueness as a sacred (religious) space. The Regina Caeli Catholic Church has a modern architecture and provides a place for symbolic symbols and ornaments; there is a mixture of modern architecture with church symbolism as a relogious building.
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Gnatiuk, Liliia. "THE ROLE OF ART AND THE MEANING OF THE SYMBOL IN THE FORMATION OF SACRED SPACE." Current problems of architecture and urban planning, no. 58 (November 30, 2020): 32–47. http://dx.doi.org/10.32347/2077-3455.2020.58.32-47.
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The article analyzes the history of changes in the role of art and the meaning of the symbol in the formation of the sacred space of architecture, which is presented through the consideration of the symbolic understanding of material forms and objects in the traditional and modernist representation.
The historical development of the concept of symbol and its representation in art and architecture is presented. The development of the aesthetic category of "beauty" in historical development is represented.
Three theories of understanding the concepts of the symbol are considered: "traditional", "hegelian" and "cashier", which in the twentieth century had almost the same influence. The source of origin and interpretation of the content of the symbol in the sacred space is presented.
The role of a person (artist and recipient) is analyzed, which is to read the revealed symbols and write them in language, myths or art in a way accessible to human resources. The phenomenon of perception in certain visible figures of objects is an expression of a more general situation, an expression of a certain type of views or collective beliefs. Symbols pointing out not to the sacred reality, but to certain intellectual tendencies, social situations or expressions of culture are singled out.
Contradictions in the perception of sacred space and reading the symbolism of its content are considered. Religion, art, science, language are presented as forms of human thinking about reality with forms of epistemologically understandable symbol. The need to take into account the relationship between certain forms and messages that are transmitted through them in the formation of sacred space.
There is also an attempt to adapt the principles of modernism to the needs of the formation of sacred space based on the concept of "seven plans" by Rudolf Schwartz, in which after the suspension of historical knowledge seeks the essence of the phenomenon, understood as its constant feature.
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Gnatiuk, Liliia. "CREATION OF A SPIRITUAL ATMOSPHERE OF A SACRED SPACE." Current problems of architecture and urban planning, no. 59 (March 1, 2021): 16–27. http://dx.doi.org/10.32347/2077-3455.2021.59.16-27.
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The article analyzes the history of changes in the role of art and the meaning of the symbol in the formation of the sacred space of architecture, which is presented through the consideration of the symbolic understanding of material forms and objects in the traditional and modernist representation. The historical development of the concept of symbol and its representation in art and architecture is presented. The development of the aesthetic category of "beauty" in historical development is represented. Three theories of understanding the concepts of the symbol are considered: "traditional", "hegelian" and "cashier", which in the twentieth century had almost the same influence. The source of origin and interpretation of the content of the symbol in the sacred space is presented. The role of a person (artist and recipient) is analyzed, which is to read the revealed symbols and write them in language, myths or art in a way accessible to human resources. The phenomenon of perception in certain visible figures of objects is an expression of a more general situation, an expression of a certain type of views or collective beliefs. Symbols pointing out not to the sacred reality, but to certain intellectual tendencies, social situations or expressions of culture are singled out. Contradictions in the perception of sacred space and reading the symbolism of its content are considered. Religion, art, science, language are presented as forms of human thinking about reality with forms of epistemologically understandable symbol. The need to take into account the relationship between certain forms and messages that are transmitted through them in the formation of sacred space. There is also an attempt to adapt the principles of modernism to the needs of the formation of sacred space based on the concept of "seven plans" by Rudolf Schwartz, in which after the suspension of historical knowledge seeks the essence of the phenomenon, understood as its constant feature.
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Shelkovaya, Natalya. "Sacred art as the highest manifestation of a person's spiritual worldview." Culturology Ideas, no. 20 (2'2021) (2021): 127–42. http://dx.doi.org/10.37627/2311-9489-20-2021-2.127-142.
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The article is devoted to the problem of the formation of a spiritual worldview, the spiritualization of a person, a meeting with the sacred world, God, which is very relevant in the modern technogenic world, through communication with the sacred art, which has its own symbolic language, its own characteristic for each religion, signs that are important for a person as a spiritual, in its main essence, being. The author reveals the nature of sacred art, compares attitudes towards it in the Middle Ages and in our time, reveals the deep symbols of sacred architecture and painting in Christianity, sacred architecture in Islam, and painting in Chan Buddhism. A comparative analysis of the symbols of the sacred art of these religions showed the profound unity of their main ideas: the idea of creating the world in the Void (Creatio ex Nihilo), the idea of the creation of the world by Light, the idea of the manifestation of the Word of God in Christianity and Islam; revealed the common goal of the sacred art of these religions — unity with God, the spiritual world, nature by getting rid of their egoistic subjectivity; discovered a similarity in the creative process of an icon painter in Christianity and an artist in Chan Buddhism and led to conclusions about the synonymy of the concepts of God in Christianity, Allah in Islam and Emptiness in Buddhism.
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Iban, Carlos, and Tuti Elfrida. "ARSITEKTUR RELIGI PESTA TIWAH DAYAK NGAJU SEBAGAI DAYA TARIK WISATA BUDAYA DI KALIMANTAN TENGAH." ATRIUM Jurnal Arsitektur 3, no. 2 (June 5, 2020): 101–12. http://dx.doi.org/10.21460/atrium.v3i2.15.
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Title: The Religious Architecture of Tiwah Feast among Dayak Ngaju as Cultural Tourism Attractions in Central Kalimantan
The belief to a transcendent space among Dayak Ngaju people, especially for Kaharingan believers in Central Kalimantan, leads to the Tiwah Feast, a secondary funeral ceremony to transmit the soul of the dead to a celestial realm called The Lewu Tatau. The Tiwah Feast manifests in many meaningfulness of sacred symbols. There are certain rules in the implementation, particularly on the physical symbols and its religious architectures. This article emphasize the uniqueness of the symbols on the religious architecture of Tiwah Feast, which has the potential to become tourist attraction in the development of cultural tourism products. Using qualitative methods, data obtained through in-depth interviews, participant observation, and documentation, in two different locations, in Tumbang Koling and Ramang Village. Sacred symbols on its religious architecture include Sapundu and Sandong. A sapundu manifests in the form of a human or animal figure, regarding to the personification of the ancestral spirit. It shows the way for the soul towards Lewu Tatau. Meanwhile, Sandong is a secondary burial coffin to put the ancestral bones. The construction and architecture should concern on foundation, size, height, carvings, and ornaments. This local wisdom is potential to be developed as a cultural tourism attraction. However, the sacredness of the Tiwah Feast must be maintained and preserved from cultural commercialization and commodification issues.
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Chrisylla, Meielisa. "Architectural Design Symbolism Catholic Church of Saint Peter and The Virgin Mary Catholic Church Santa Grief Seven in Bandung." ARTEKS : Jurnal Teknik Arsitektur 1, no. 1 (July 14, 2019): 1–14. http://dx.doi.org/10.30822/arteks.v1i1.20.
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As a place of holy worship, a Catholic Church should posses a sacred interior and exterior expression. Modernization has caused a good deal of this sacred expression of the Catholic Church to fade. As Catholic Church is a place of worship that supports all liturgical activities, semiotic theory are used to analyze and decipher its architecture to preserve sacredness.
The research methodology that was employed was qualitative methods using Peirce’s semiotic principles and their implementation in Church architecture. The principle was then used to analyze two case studies in every detail of their draw up. The area of planning encompassed: (1) Scope of the surrounding environment; (2) Scope of the site; (3) Scope of the form. This analysis employed semiotic principles that were elaborated with Catholic Church principles to create a guideline in the architectural planning of a Catholic Church.
The purpose of this research is to find the most dominant sacral expression between Santo Petrus Church and the Santa Perawan Maria Tujuh Kedukaan Church by means of the symbols attached to the architectural elements between these two Catholic Churches.
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Gnatiuk, Liliia. "INHERITANCE OF TRADITIONAL HISTORICAL FORMS IN THE FORMATION OF SACRED SPACE." Current problems of architecture and urban planning, no. 60 (April 26, 2021): 36–45. http://dx.doi.org/10.32347/2077-3455.2021.60.36-45.
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The article analyzes the imitation of traditional historical forms in the formation of sacred space. The main examples of world architecture are presented, which partially or completely copy the historical forms. The development of the sacred architecture of the modernist epoch in its imitation is represented. The phenomenon of perception in certain visible figures of objects is an expression of a more general situation, an expression of a certain type of views or collective beliefs.
The using of traditional forms in modernist architecture is considered, which at the same time is not a complete rejection of modernist preferences, but also an attempt to reinterpret the geometry of traditional historical forms.
The combination of national landscape and local specifics and European established traditional forms of sacred space is presented.
Contradictions in the perception of sacred space and reading the symbolism of its content are considered.
An attempt is also made to adapt the principles of modernism to the needs of the formation of sacred space, in which, after the suspension of historical knowledge, the essence of the phenomenon under study is sought, which is understood as its invariable feature. Religion, art, science and language are presented as forms of human thinking about reality with forms of epistemologically understandable symbol.
The need to take into account the relationship between certain forms and messages that are transmitted through them in the formation of sacred space.
Symbols pointing out not certain sacred reality, but certain intellectual tendencies, social situations or expressions of culture are singled out.
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Chrisylla, Meielisa. "SIMBOLISASI PADA RANCANGAN ARSITEKTUR GEREJA KATOLIK SANTO PETRUS DAN GEREJA KATOLIK SANTA PERAWAN MARIA TUJUH KEDUKAAN DI KOTA BANDUNG." ARTEKS, Jurnal Teknik Arsitektur 1, no. 1 (December 5, 2016): 1. http://dx.doi.org/10.30822/artk.v1i1.79.
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Title: Architectural Design Symbolism Catholic Church of Saint Peter and The Virgin Mary Catholic Church Santa Grief Seven in BandungAs a place of holy worship, a Catholic Church should posses a sacred interior and exterior expression. Modernization has caused a good deal of this sacred expression of the Catholic Church to fade. As Catholic Church is a place of worship that supports all liturgical activities, semiotic theory are used toanalyze and decipher its architecture to preserve sacredness. The research methodology that was employed was qualitative methods using Peirce’s semioticprinciples and their implementation in Church architecture. The principle was then used to analyze two case studies in every detail of their draw up. The area of planning encompassed: (1) Scope of the surrounding environment; (2) Scope of the site; (3) Scope of the form. This analysis employed semiotic principles that were elaborated with Catholic Church principles to create a guideline in thearchitectural planning of a Catholic Church. The purpose of this research is to find the most dominant sacral expression between Santo PetrusChurch and the Santa Perawan Maria Tujuh Kedukaan Church by means of the symbols attached to the architectural elements between these two Catholic Churches.The results of this study were that sacral expression in terms of (1) Scope of the surrounding environment; (2) Scope of the site; (3) Scope of the form are more dominant in the Santo Petrus Church compared to the Santa Perawan Maria Tujuh Kedukaan Church.Keywords: Peirce’s semiotics, sacral expression, catholic church
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Gnatiuk, Liliia. "THE SYMBOLISM OF IMRE MAKOVECH'S METAPHORICAL LANGUAGE IN THE FORMATION OF SACRED SPACE." Urban development and spatial planning, no. 77 (May 24, 2021): 113–22. http://dx.doi.org/10.32347/2076-815x.2021.77.113-122.
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The article analyzes the iconic temples of the twentieth century designed by the Hungarian architect Imre Makovec. The anthroposophical theory of architecture is presented, which assumed that the world and man are permeated with various types of spiritual forces, thanks to the forms of objects of the visible world, they can be strengthened or weakened.
The understanding of the harmony of forms in the formation of the sacred space is presented.
The architecture of sacred buildings erected according to the principle of organic architecture is considered. It is determined that the forms created by Makovech do not belong to any of the "languages" of architectural expression that have been created so far.
The article presents a view on the mysterious nature of the connection of people in society – close to the types of connections that connect religious communities, as well as the concept of architecture as a bridge between heaven and earth, which also changed the approach to a building as an exclusively material object.
The forms of individual sacred structures and the ways of organizing their interiors were analyzed, which made it possible to conclude that the ideas of reviving the unity of the surrounding landscape, the tendency to use local materials (primarily wood), but also a more general, philosophical attitude, allows us to consider architecture as an element that binds forces space with human life.
The use of the metaphorical language of Makovech's architecture is considered based on the world of visual human products and their iconographic distinctive features. Revealed the need to take into account the relationship between certain forms and messages, through them are transmitted to the formations of the sacred space.
An attempt is also presented to adapt the principles of modernism to the needs of the shaping of the sacred space. The tendencies of the formation of the sacred space in the twentieth century are revealed, namely: anthroposophical; continuation and development of Christian symbols.
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Hatta, Juparno. "KONSTRUKSI MITOS ILUMINATI PADA MASJID AL-SAFAR (Analisis Semiotika Roland Barthes)." Jurnal Sosiologi Agama 13, no. 2 (December 21, 2019): 67. http://dx.doi.org/10.14421/jsa.2019.132-04.
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Secara umum, struktur arsitektur masjid tidak memperlihatkan keseragaman. Nilai lokalitas atau kedaerahan dan pra-islam memberi pengaruh pada beberapa arsitektur masjid tua di Indonesia. Dewasa ini, arsitektur masjid lebih berkembang dengan pola desain yang lebih modern dan unik, sepeti masjid al-Safar. Arsitekturnya yang menyerupai segitiga sebagai konsekuensi desainya yang mengadopsi konsep folding. Tuduhan atau tafsiran arsitektur masjid al-Safar yang tidak islami karena menyerupai objek sakral dari umat Yahadi, yaitu iluminati atau segitiga adalah mitos. Dalam sejarah manusia, benda fisik yang bermakna simbolis atau Yang Sakral dipengaruhi pengalaman hidup atau realitas subyektif manusia. Dua objek simbolis ini, memiliki sejarahnya masing-masing dan diference.Kata Kunci: Aristektur masjid, Masjid Al-Safar, Mitos, SimbolisGenerally, the mosque’s architectural structure does not show uniformity. The locality or provincial and pre-Islamic value gave architecture influence to some ancient mosques in Indonesia. Recently, the mosque’s architecture is well-developed with modern and unique design pattern, such as Al-Safar mosque. Its architecture resembled triangle as its adopted design by folded concept. Accusation or interpretation of Al-Safar mosque which doesn’t represent Islam, whereas its represent the sacred object of Jewish adherent, which is illuminati or triangle is a myth. In human history, this physical object symbolically related or the Most Sacred affected by life experience or subjective human reality. These two symbols, have their own differences and history.Keywords: Mosque Architecture, Al-Safar Mosque, Myth, Symbolic
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Deimary, Nima, and Mohammad Mohammadi. "Methods of expressing religious beliefs through sacred numbers in the architecture and sport of Zurkhaneh." Revista Eletrônica em Gestão, Educação e Tecnologia Ambiental 24 (January 8, 2020): 3. http://dx.doi.org/10.5902/2236117040265.
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Ancient sports, dating to the size of the history of Mithraism, have undergone many changes throughout history and have been mixed with Sufism and Shiism. As a result of these developments, Zurkhaneh's building also has a distinct root in the Islamic era by preserving patterns of the ancient world. The structure and its components are based on beliefs and sentiments that have been exhibited in different shapes in the architecture of Zurkhaneh building throughout history, holding symbolic concepts like sacred numbers. As in other examples of Iranian architecture, it has played a major role in the formation of architecture and sports of Zurkhaneh. Examples like the octagonal Field of Zurkhaneh, which is a symbol of the eight gates of Paradise and commemorating the eighth Shiite Imam, and the dome is a symbol of unity. This research tries to investigate the effect of sacred numbers on formation of archery sports and Zurkhaneh architecture by using a descriptive and analytic approach and using library documents and resources.
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Calaza-Martínez, Pedro, Nuria Freire-González, and Camilo Blanco-Pampín. "Sacred Landscapes in Galicia: Small Religious Architecture and Symbolism." Acta Horticulturae et Regiotecturae 22, no. 1 (May 1, 2019): 8–13. http://dx.doi.org/10.2478/ahr-2019-0002.
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Abstract Cultural landscapes are multi-layered entities that constantly endure changes and transformations, especially in Europe due to its ancient history and anthropized nature, which reveals itself not only in physical elements, but also through immaterial heritage. This paper aims to analyse the connection between sacred landscapes, small religious architecture and folklore, focusing on the origin and transformations of several places in Galicia (northwest of Spain). Galicia is defined by its rich flora and fauna, a management of its land based on smallholding and the social idiosyncrasy of its people, defined by strong symbolism and the religious tradition that is reflected in a great amount of small sacred architecture. All this provide a paradigmatic territory for this research, allowing an approach to the case studies from the point of view of landscape architecture, assessing the small sacred architecture elements, their background, symbolism and associated vegetation. It is worth mentioning that, although vegetation had a very strong meaning and symbolism in the sacred history of Galicia, nowadays it only appears in 26% of the analysed case studies.
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Permilovskaya, Anna B. "Mythology of the russian orthodoxy and wooden church architecture." Yaroslavl Pedagogical Bulletin 2, no. 119 (2021): 151–58. http://dx.doi.org/10.20323/1813-145x-2021-2-119-151-158.
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This research topic is the initial stage of new work. The influence of the mythopoetic worldview of Russians and Orthodoxy on the architectural structure and symbolism in the concept of wooden temple building in the northern and arctic territories is considered an integrative scientific field in the article. This is founding a confirmation in the organization of the cultural and sacred landscape, in historical traditions and legends about the choosing of a place for the building of a temple (chapel). As well as the special status of «sacred» and «roadside» groves of trees, the selection of these trees for construction in a sacred meaning and using of individual parts of these temples as a community center and place for ancient rituals. The lexis, connected with the folk architecture, indicates the anthropomorphic nature of the architectural space of the temple. The construction, as it were, is assembled from «large», qualitatively significant components of the human body: head, neck, face, eyes, kokoshnik, forehead, rib, human bust, etc. This tradition is preserved and strengthened by the circumstance that since ancient times, the proportions of the human body acted as a tectonic (building) model of the entire architectural structure. The research substantiates an algorithm for the interactionof the mythopoetic worldview and the Orthodoxy on the architectural structure, and the significance of church architecture. The temple occupied a central place in the sacred space of the northern peasant world. The conducted research made it possible to convincingly prove that wooden churches are a symbolic heritage of the Russian North and the Arctic. The pinnacle of the development of wooden architecture, embodied in the northern temple architecture, was a natural result of ancient Russian architectural – constructional traditions and a reflection of the talent of the Russian people, which allows us to translate the concept of «Russian carpenter» into the category of «Russian architect».
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Pavlova, O. Y. "SEMANTIC SHIFT FUNCTIONAL ARCHITECTURE (part 1)." UKRAINIAN CULTURAL STUDIES, no. 1 (4) (2019): 17–20. http://dx.doi.org/10.17721/ucs.2019.1(4).03.
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The article is devoted to analyze of the signification mode of symbolic architecture. An attempt is carried out to detect the difference between the symbolic form of the ritual and the symbolic architecture, as well as the semantic shift that this distinction causes the organization of symbols to generate. Application of strategies of semantic analysis to the material of aesthetics G. Hegel allows not only to expand the horizons of applied semantics, but also to understand the patterns of formation of artistic culture and aesthetic process in general. Using strategies of semantic analy- sis to the material of G. Hegel’s aesthetics allows not only to expand the horizons of applied semantics, but also to understand the patterns of formation of art and aesthetic process in general. Symbolic architecture does not serve anything, in contrast to the functional one. It is self-sufficient in the sense of human self-production as a cultural entity in the process of the signification regime reorganizing of early forms of culture and the implementation of the semantic shift of the Neolithic revolution. Self-sufficient architecture has such irrationally gigantic sizes, since the form of monumentality was designed to "localize the Numinous". The sav- age efforts of the cyclopean clutches were a kind of Potlatch, curbing the evil force of the "The Accursed Share", reducing the conflict potential of the community, whose conditions of survival were changing in the agrarian wave movement. The gift magic could no longer cope with the new situation, and therefore the sacrifice of production time, and just the human sacrifice (René Girard), was the answer to the new civilization challenge. Nevertheless, the monumental architecture remained a signification mod of symbolism. After all, the latter was a non-differentiation of material, cultural and social, as well as production-consumption-pleasure. That was, self-sufficient architecture was a cultural practice of mimetic restoration of itself (without primacy of contemplation). What actually was expressed in the semantic shift of the symbolic order, which did not involve poly-ontology, the presence of the referent. It was not a reflection, but part of the very action mode. The special part that concentrated, localized the scattered sacred in the pre-civilization state of affairs. The semantic shift manifested itself in another way of organizing the very symbol, primarily in another dominant order of signs. After all, symbolic architecture is still syncretic cultural prac- tice, but which itself was the medium of other cultural practices. The development of symbolic architecture became a basic ritual that pro- vided a balance of other cultural practices.
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Kader, Zeinab Feisal Abdel. "REFLECTIONS OF NUMBER SYMBOLISM ON EGYPTIAN SACRED ARCHITECTURE." ERJ. Engineering Research Journal 35, no. 3 (July 1, 2012): 265–73. http://dx.doi.org/10.21608/erjm.2012.67177.
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Allahham, Abeer. "Metamorphosis of mosque semiotics." Archnet-IJAR: International Journal of Architectural Research 13, no. 1 (March 18, 2019): 204–17. http://dx.doi.org/10.1108/arch-11-2018-0001.
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Purpose Compared with its status in Islamic history, the mosque today has become a distinctive phenomenon, perceived as an identity vessel of contemporary Islamic architecture that conveys sacred metaphysical meanings. Since the advent of modernity Muslim societies has become increasingly secularized; the relationships of the sacred–secular and the divine-based demythologized knowledge have been deformed. The mosque was glossed over as the sole contemporary sacred edifice that bears metaphysical/Islamic connotations with cultural continuity. Its architecture, meanings and function have gone through a process of metamorphosis, particularly the state mosques. The contemporary mosque as such is facing a “semiological deterioration.” State mosques today are symbolic statements and communicative messages of their rulers’ power and national sovereignty, with a subsidiary role for worship, i.e., the sacred has turned into a secular power metaphor. This led to a state semantic confusion accompanied by a loss in the deeply rooted collective cultural codes of the sacred. The purpose of this paper is to investigate the metamorphosis of the semiological connotation of the contemporary mosque, with a special focus on grand state mosques, and its effects on the architecture of the contemporary mosque. Design/methodology/approach This paper is theoretical research (no case studies included). Findings The metamorphosis that the contemporary mosque is experiencing today as a religious edifice with symbolic connotations and architectural iconism is but an effect of the changes that occurred in the concept of the scared and its relationship to the secular in contemporary Muslim communities, as a result of modernity. Such conceptual changes led to altering the deeply rooted cultural codes to be replaced by new intentional codes, used today as vehicles of communication in mosque architecture, especially in grand state mosques. Contemporary state mosques with its new symbolism and semantic meanings have contributed to redefining the concept of the contemporary mosque in general. Originality/value Mosque architecture today receives a significant importance. Many conferences and awards are dedicated to celebrating this phenomenon. Attempts to define the criteria and style of the contemporary mosque architecture are mounting. However, rarely there are studies that defy such attempts in a critical manner. This research seeks to criticize such approaches by highlighting the essence of the transformation in mosque architecture and its relationship to the concepts of the sacred and the secular, from a semiological perspective.
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William, Raymond. "THE ARCHITECTURE OF PAGODAS VIEWED FROM THE ANGLE OF SITE LAY-OUT, PROPORTION, AND SYMBOLIZATION." Riset Arsitektur (RISA) 1, no. 02 (July 17, 2017): 192–208. http://dx.doi.org/10.26593/risa.v1i02.2392.192-208.
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Abstract – On Bali the islanders enjoy a close relationship with their Creator. The majority of Balinese worship in temples or shrines called Pura. These form a complex of sacred buildings that have a certain significance and function. One prominent type is the so-called Meru or Pagoda. Not all Pura temples have such a pagoda, but those that have more than one are found quite frequently. The placement of a pagoda in a temple is usually made at the main section due to its holiness or purity. Their shape differs from other constructions because their layered roof is multi-tiered, always uneven in number, starting from 3 up to 11. Therefore, these pagodas attain a different height so that their proportions are interesting to observe in order to determine whether there is a pole (patokan) or not. The pagodas carry divine symbols, ones referring to other temples or shrines, or ancestral symbols. This study employs the descriptive-analytical method by conducting a qualitative-quantitative evaluation. The qualitative evaluation investigates the lay-out of the placement and examines symbolization, whereas the quantitative evaluation studies the proportions of the pagodas. The data collection technique contains three parts, namely studying the relevant background literature, making observations, and holding structured interviews. The data analysis subjects the outcome of the observations and interviews to analysis, to be joined with theoretical study. The conclusion may be drawn that the ordering principle behind the placement of pagodas is situated in the main area, considered the most sacred part of a Pura temple. These proportions prove to have several features in common by comparison, so that it can be turned into a pole (patokan). No uniformity was detected in the symbolization of the pagoda in terms of carvings or the number of joinings.Keywords: pagoda, site lay-out, proportion, symbolization, temples on Bali
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Adiputra, Muhammad Rusdi, and Purnama Salura. "The signs and symbolic markers of sacral orientation in Mosque architecture." ARTEKS : Jurnal Teknik Arsitektur 6, no. 2 (August 1, 2021): 157–64. http://dx.doi.org/10.30822/arteks.v6i2.360.
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Mosques as a religious building for the Moslem Community have two orientations and they include the Qibla as the main and direction of the sky as the secondary. Praying is the main element of worship for Moslems and is recommended to be led towards the Qibla or upward direction. The mosque has been discovered not to have a sacred space but Qibla, mihrab, and Qibla marker walls are considered sacred. These sacred orientation signs and markers have been used and developed since the beginning but their existence and understanding have been eroded due to the influence of locals as well as development. Currently, the majority of the mosques in Indonesia have a centralized and strong orientation towards the upper direction when they are expected to have the main orientation in the form of Qibla direction. This study was, therefore, conducted to examine the anatomy of these mosques using semiotic theory by comparing the two mosques with several signs and markers of sacred orientation in the country. The results showed there are new signs and markers but the old ones are still significant in the mosques in the present time.
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Gonçalves, José Fernando. "Sacred Spaces." Actas de Arquitectura Religiosa Contemporánea 5 (July 25, 2018): 220–29. http://dx.doi.org/10.17979/aarc.2017.5.0.5153.
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The passage from sacred to secular space confers on religious space a wider functionality that will allow the incorporation of an abstract and open spatial symbolism to different perceptions of the divine to see, feel or invoke God. According to Rudolf Otto, on the Protestant churches the architectonic expression of the numinous is made by three fundamental elements of representation: obscurity, silence and emptiness. As elements that conceptually oppose the concrete or definitive symbol, they acquire a universal meaning that modern architecture itself will incorporate as a process of artistic emancipation.For a contemporary architect to design a religious space thus imposes an inevitable incursion into this Protestant matrix that appeals to the simplicity of forms, to the fidelity of construction and to the aesthetic experience as access to the transcendent. The mortuary chapels I am presenting takes up this contact with the modern constructive knowledge and with the return to the essential sacred place made of space, light and matter.
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Hosseinabadi, Sanaz. "The Fourth Dimension in Architecture: Sacred Geometry and Symbolism." International Journal of the Image 1, no. 1 (2011): 157–68. http://dx.doi.org/10.18848/2154-8560/cgp/v01i01/44171.
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Бузыкина, Юлия Николаевна. "Review of: Sacred Architecture of Byzantium. Art, Liturgy and Symbolism in Early Christian Churches. London; New York: I. B. Tauris & Co Ltd, 2014. 446 p. ISBN 978-1-78076-291-3." Theological Herald, no. 2(37) (June 15, 2020): 351–56. http://dx.doi.org/10.31802/2500-1450-2020-37-2-351-356.
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Книга Николаса Н. Патрикиоса («Сакральная архитектура Византии: искусство, литургия и символизм в раннехристианских церквях») представляет собой обобщающую работу о византийской архитектуре от эпохи Константина до падения Константинополя. Важность её заключается не только в том, что автор проработал огромный массив материала — 370 памятников, разделив их на семь типов (с. 48) и проследив эволюцию каждого из них и в целом и в деталях, но и в том, что автор учитывает взаимосвязь между архитектурной типологией и наполнением здания, демонстрируя, как особенности литургии в разные исторические периоды соотносятся с архитектурной эволюцией, а также с образным наполнением церковного пространства. Эта отличительная черта работы сообщает ей необходимую полноту. Для Патрикиоса архитектура, литургия и священное изобразительное искусство представляет собой единое целое. Чтобы учесть все компоненты целого, автор делит повествование на следующие главы: церковь и государство; сакральная архитектура; великолепные церкви; духовное искусство; литургия и Евхаристия; символизм в архитектуре и искусстве. The book by Nicholas N. Patrikios ("Sacred Architecture of Byzantium: Art, Liturgy and Symbolism in Early Christian Churches") is a generalizing work on Byzantine architecture from the era of Constantine to the fall of Constantinople. Its importance lies not only in the fact that the author has worked through a huge array of material - 370 monuments, dividing them into seven types (p. 48) and tracing the evolution of each of them in general and in detail, but also in the fact that the author takes into account the relationship between the architectural typology and the content of the building, demonstrating how the features of the liturgy in different historical periods correlate with the architectural evolution, as well as with the figurative content of the church space. This distinctive the feature of the work gives it the necessary completeness. For Patrikios architecture, liturgy and sacred art of constitutes a single whole. To take into account all the components of the whole, the author divides the narrative into the following chapters: church and state; sacred architecture; magnificent churches; spiritual art; liturgy and Eucharist; symbolism in architecture and art.
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Ahmadzadeh Siyahrood, Sanaz, Arghavan Ebrahimi, Javad Ghiasvand, and Mohammadjavad Mahdavinejad. "THE FACTORS CONTRIBUTING IN SPIRITUALITY DEFINITION OF IRANIAN MOSQUES." Journal of Islamic Architecture 5, no. 4 (December 21, 2019): 198–208. http://dx.doi.org/10.18860/jia.v5i4.5254.
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Islamic mosques in Iran, similar to other Islamic nations, are reflections of visual beauties and typical examples of symbolic integration and relationship with strong beliefs and geometry. Scrutiny of these relationships provides a broader and profound perception of the design paradigm of these sacred masterpieces, which not only have been responding to the functional aspect of holy places but also represent an aesthetic model of architectural geometric perfection. This paper aims to survey this paradigm with a focus on its basic concepts and geometric origins; in this regard, it seeks to address the ensuing questions: what are the fundamental ideas in the design of mosques? How and which methods were used have been reflected in the architecture of mosques? How has the geometry assisted the architecture of mosques? What is the geometry role in the accomplishment of those basic concepts? To this end, after stating the fundamental concepts and dominant ideology in the design of mosques and the progress factors of Islamic architecture, their architectural features, spatial organization, and relations with geometry had been examined. The research hypothesis is that monotheism and divine unity are the original concepts of the architecture of mosques and this type of architectural design tries with the help of a range of abstract arts, symbolic materials, various methods, and science of geometry symbolize these ideas to create a sacred atmosphere and place which could be an intermediate spot for the human to achieve that divinity and unity.
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Alifuddin, Muhammad. "Potret Islam dalam Bingkai Kearifan Lokal: Studi Makna Arsitektur Kampung Naga." Al-Izzah: Jurnal Hasil-Hasil Penelitian 12, no. 2 (January 23, 2018): 112. http://dx.doi.org/10.31332/ai.v12i2.644.
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This research aims to describe the form and meaning of house in Naga in term of emic and ethic perspectives. This study focuses on the form and space of house arcithecture as well as the symbolic meaning of house for people living in Naga. The data is generated through a series of interview, participant observation and library research. The research shows that the form of Naga’s house is closely related to their belief in which the world is divided into three, i.e: upper world, middle and the lower one. In addition, that form also reflects their views on the place of men and women within the house. Though separation is required by their tradition, they also provide the neutral room in which male and female could meet together. Their houses also provide the sacred room to reflect the existencse of God within their life. To sum up, those beliefs are, to some extent, in line with the Islamic norms practiced by Muslim in their daily life. Basically, symbols in the house contain universal symbol, except for goah which is believed as Dewi Sri’s room. However, the house’s design, form, and arrangement are quite similar to Islamic architecture with some restrictions states as Islamic portrait within local wisdom framework
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Pavlova, O. Y. "SEMANTIC SHIFT FUNCTIONAL ARCHITECTURE IN THE TRANSFORMATION LOGIC OF CULTURAL PRACTICES (PART 2)." UKRAINIAN CULTURAL STUDIES, no. 2 (7) (2020): 72–77. http://dx.doi.org/10.17721/ucs.2020.2(7).13.
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The article is devoted to analyze of the signification mode of symbolic architecture. An attempt is carried out to detect the difference between the symbolic form of the ritual and the symbolic architecture, as well as the semantic shift that this distinction causes the organization of symbols to generate. Application of strategies of semantic analysis to the material of aesthetics G. Hegel allows not only to expand the horizons of applied applied semantics, but also to understand the patterns of formation of artistic culture and aesthetic process in general. Using strategies of semantic analysis to the material of G. Hegel's aesthetics allows not only to expand the horizons of applied semantics, but also to understand the patterns of formation of art and aesthetic process in general. Symbolic architecture does not serve anything, in contrast to the functional one. It is self-sufficient in the sense of human self-production as a cultural entity in the process of the signification regime reorganizing of early forms culture and the implementation of the semantic shift of the Neolithic revolution. Self-sufficient architecture has such irrationally gigantic sizes, since the form of monumentality was designed to "localize the Numinous". The savage efforts of the cyclopean clutches were a kind of Potlatch, curbing the evil force of the "The Accursed Share", reducing the conflict potential of the community, whose conditions of survival were changing in the agrarian wave movement. The gift magic could no longer cope with the new situation, and therefore the sacrifice of production time, and just the human sacrifice (René Girard), was the answer to the new civilization challenge. Nevertheless, the monumental architecture remained a signification mod of symbolism. After all, the latter was a non-differentiation of material, cultural and social, as well as production-consumption-pleasure. That was, self-sufficient architecture was a cultural practice of mimetic restoration of itself (without primacy of contemplation). What actually was expressed in the semantic shift of the symbolic order, which did not involve poly- ontology, the presence of the referent. It was not a reflection, but part of the very action mode. The special part that concentrated, localized the scattered sacred in the pre-civilization state of affairs. The semantic shift manifested itself in another way of organizing the very symbol, primarily in another dominant order of signs. After all, symbolic architecture is still syncretic cultural practice, but which itself was the medium of other cultural practices. The development of symbolic architecture became a basic ritual that provided a balance of other cultural practices.
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Bhandari, Harveen, Prabhjot Kaur, and Aruna Ramani Grover. "The ongoing construction trends in Shaktipithas of Himachal Pradesh-symbols of living religious heritage." International Journal of Engineering & Technology 7, no. 1.4 (January 4, 2018): 14. http://dx.doi.org/10.14419/ijet.v7i1.4.9029.
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Shaktipithas represent India’s rich cultural heritage. The continuity of functions at these sites further reinstates their significance as Living Religious Heritage. Their spiritual value is central to hundreds of millions of people who visit them every year. The growing population, boost in commerce, advancements in construction technology has impacted the construction trends in all spheres and typologies of architecture. Temples, the religious heritage of the country, are being widely affected by this new movement in architecture. These temples were built years ago using characteristic elements from Indian traditional temple styles or regional vernacular elements. With growth in population and rising number of pilgrims, these complexes face shortfall of infrastructure facilities. To accommodate large inflow of pilgrims especially on festivals large scale construction activities are in full swing on these sites. This paper tends to present a thorough insight into the ongoing developments at some popular sites in Himachal Pradesh, India which are in contemporary style using modern methods of construction. It is highly insensitive to the existing character of our religious heritage and deteriorates the built environment. So the need arises to conserve our cultural heritage, take timely measures to make these places sustainable pilgrimage destinations and keep alive their distinct sacred visual impact.
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Malji, Andrea. "People Don’t Want a Mosque Here: Destruction of Minority Religious Sites as a Strategy of Nationalism." Journal of Religion and Violence 9, no. 1 (2021): 50–69. http://dx.doi.org/10.5840/jrv202142086.
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Religious sites are often at the center of confrontation. Groups frequently clash over the structures and the historical narratives surrounding sacred spaces. Religious sites encompass deeply entrenched meanings for groups of all backgrounds. These spaces represent identity, tradition, history, family, and belief systems. For minority groups, their religious sites can help provide a sense of belonging and serve as a monument to their history in the community. Due to their symbolic importance, religious sites are also vulnerable to violence by outside groups. Destructive acts targeting religious architecture and symbols are common throughout the world, but are especially frequent in identity-based conflicts, such as in Bosnia. However, the study of these attacks and their relationship to nationalist movements, particularly in Asia, has not been adequately studied. This article examines the destruction of Islamic sites in three distinct countries and contexts: India, Myanmar, and Xinjiang, China. In each case, Muslims are religious minorities and face varying levels of persecution. This article argues that the destruction of religious spaces and symbols has been used both literally and symbolically to claim a space for the dominant group and assert a right to the associated territory. The elimination of Muslim sites is part of a broader attempt to engage in a historical revisionism that diminishes or vilifies Muslims belonging in the region.
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Niglio, Olimpia, and Luigi Guerriero. "Sacred places: spaces for a dialogue among cultures." Resourceedings 2, no. 3 (November 12, 2019): 90. http://dx.doi.org/10.21625/resourceedings.v2i3.631.
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Background. The construction of a sacred space identifies a place where men realize a direct relationship with their God, qualifying this space as the absolute center of the existence, regardless of its location and its definition.In the sacred places, the geometric-dimensional relations, that define each space, are enriched with the temporal connotation, making more explicit the inseparable relationship between the architecture and the historical process (to stay erected in front of the history, following the more convincing anthropological meaning of the building action) with the material changes of the same architecture.Results. Then, each sacred place is the center (from which an axis is inevitably outlined) of a spatial dimension that is emancipated from pure physical conditions and it forces to involve tools of unusual analysis that fit the specificity of the use (in other words, the symbolic character).The sacred place assumes the role of an instrument of synthesis (of manifesto) that allows a vision of the world ables to build the dialogue among the cultures, overcoming the limits of the individual perspectives and fitting a community program based on the sharing of the Human Values.Conclusion. Given these premises, the paper reconsiders some studies of the history of the architecture that has given specific attention to the issue of the sacred place that is also seen as material and intangible space, where men meet their God, their self and the community. The contribution also analyzes experiences of realization of sacred spaces, between the second half of the nineteenth century and the first half of the twentieth, examining religious architecture in different geographic areas and with multiple cultures. These sacred spaces have often allowed overcoming the fracture caused by colonial politics, favoring the regeneration of the meaning of the sacred places.
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Savvopoulos, Kyriakos. "POPULAR DIVINE IMAGERY IN HELLENISTIC AND ROMAN ALEXANDRIA. THE TERRACOTTA FIGURINES COLLECTION OF THE PATRIARCHAL SACRISTY IN ALEXANDRIA." Annual of the British School at Athens 114 (September 20, 2019): 317–68. http://dx.doi.org/10.1017/s0068245419000091.
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Terracotta figurines represent one of the most fascinating categories of material evidence from Hellenistic (Ptolemaic) and Roman Egypt relating to the domestic aspects of religious life. They include deities, ordinary humans, animals and sacred symbols, represented in exhaustive variety, both in terms of content and form. The group of terracotta figurines presented in this paper are no exception. It is drawn from the collection of the Sacristy of the Greek-Orthodox Patriarchate of Alexandria and All Africa, exhibited in a most impressive Roman cistern, which was discovered during the recent renovation of the Patriarchate premises. The catalogue will be accompanied by a concise overview of the nature and role of the main divine protagonists in comparison to other types of material evidence such as statuary, architecture, coinage and epigraphy, focusing on Alexandria, the capital of Egypt during the Ptolemaic and Roman periods.
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NEWSON, PAUL. "MEMORY, PLACE, AND LANDSCAPE IN ROMAN SYRIA: THE VIEW FROM THE SANCTUARIES OF MOUNT LEBANON." Bulletin of the Institute of Classical Studies 62, no. 1 (June 1, 2019): 116–41. http://dx.doi.org/10.1111/2041-5370.12100.
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AbstractThe creation of memory and place within landscapes has received considerable critical attention in archaeology in recent years, with a focus on power relations, social cohesion, and social memory. As yet, such notions have not been fully explored within Roman contexts, generally in the Eastern Mediterranean, and particularly within the Roman province of Syria. In this region, the well-preserved Graeco-Roman temples of Lebanon have long been interpreted as powerful symbols of the Roman period. However, because of this status, study of these impressive structures has centred primarily on certain aspects, for example, the ‘Roman-ness’ of their architecture and the practical construction of their sacred landscapes. Utilizing notions of memory and power, place and performance, this paper seeks to move beyond such empirical analyses. Focusing on three case studies, it explores elements of the development of place through memory within the rural environment.
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Ziolkowski, John E., Jean Richer, and Christine Rhone. "Sacred Geography of the Ancient Greeks: Astrological Symbolism in Art, Architecture, and Landscape." Classical World 90, no. 6 (1997): 462. http://dx.doi.org/10.2307/4352022.
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Prayatna, Agus Eru, and Desak Made Sukma Widiyani. "KARAKTERISTIK BANGUNAN “BALE PIYASAN” SERTA PROSES PEMBANGUNANNYA." Jurnal Anala 8, no. 1 (February 11, 2020): 67–74. http://dx.doi.org/10.46650/anala.8.1.938.67-74.
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Bale Piyasan is one type of sacred building for the Hindu community, especially in Bali as an ancestral heritage that needs to be developed and preserved, so we need to know the background of the Bale Piyasan design and at the same time to know the historical and cultural values contained therein. At the same time as a comparison between the opinions of the sources and the reality in accordance with the conditions in the field, case studies which have different characteristics are carried out, both in terms of function, layout and shape of the sacred building. Based on this description, the purpose of this research is to find the meaning of the philosophy of the Bale Piyasan building, to find the process of self-reliance and physical, the rituals in constructing the Bale Piyasan and to determine the layout of the Bale Piyasan building as well. This research is a comparative descriptive study, where physical and non-physical data are collected, both library and field data. From the results of the analysis and comparison, they are reviewed and concluded to obtain a recommendation. There are 2 (two) types of data used in this study, namely primary data and
secondary data. Primary data is obtained through (1) surveys and observations, namely making direct observations to objects and carrying out documentation, (2) interviews, which are conducted with people who are competent and can be trusted in this matter. Secondary data includes literature studies conducted to find information about research through information sources such as books, reports, the internet. From the results of literature and factual studies and analysis results, it can be concluded that Bale Piyasan is a rectangular elongated building with 4 (four) poles as a place to decorate or assemble symbols before being distributed to the sacred building and the place where the ceremony will be offered. Bale Piyasan functions as a place to decorate or arrange symbols, such as Daksina Pelinggih or Arca. The layout of Bale Piyasan is on the west side facing south. We can find Bale Piyasan in the innards of the temple. The Bale Piyasan design uses elbows or traditional Balinese measurements. The establishment of Bale Piyasan must follow the processes and ceremonies in accordance with the rules of traditional Balinese architecture.
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von Schwerin, Jennifer. "THE SACRED MOUNTAIN IN SOCIAL CONTEXT. SYMBOLISM AND HISTORY IN MAYA ARCHITECTURE: TEMPLE 22 AT COPAN, HONDURAS." Ancient Mesoamerica 22, no. 2 (2011): 271–300. http://dx.doi.org/10.1017/s0956536111000319.
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AbstractDid Mesoamerican temples really symbolize sacred mountains? If so, what accounts for their varying forms across space and time? Through a socio-historical and iconographic approach, it is now becoming possible to explain the social and historical factors for why design in ancient Maya temples varied. Using these methods, this paper reconstructs and reinterprets one famous “sacred mountain” in the Maya region: Temple 22, at Copan, Honduras, dedicated by king Waxaklajuun Ub'aah K'awiil ina.d.715. Since 1998, the author has led a project to conserve, document, analyze, and hypothetically reconstruct thousands of sculptures from the building's collapsed façades. In design and symbolism, the building probably represented not just a mountain, but the Maya universe. In its more specific historical context, Temple 22 was designed as royal rhetoric to affirm order at a disorderly moment, and used both traditional and innovative forms to assert Copan's leading role on the boundary of the Maya world.
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Schibille, Nadine. "Astronomical and Optical Principles in the Architecture of Hagia Sophia in Constantinople." Science in Context 22, no. 1 (March 2009): 27–46. http://dx.doi.org/10.1017/s0269889708002068.
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ArgumentTextual and material evidence suggests that early Byzantine architects, known asmechanikoi, were comprehensively educated in the mathematical sciences according to contemporary standards. This paper explores the significance of the astronomical and optical sciences for the working methods of the twomechanikoiof Hagia Sophia in Constantinople, Anthemios of Tralles and Isidoros of Miletus. It argues that one major concern in the sixth-century architectural design of the Great Church was the visual effect of its sacred interior, particularly the luminosity within. Anthemios and Isidoros seem to have been thoroughly conversant with the ancient corpus of astronomical and optical writings and, as will be shown, implemented their theoretical knowledge in the design of Hagia Sophia. Specifically, the paper demonstrates that the orientation of the building's longitudinal axis coincides with the sunrise on the winter solstice according to ancient computations, implying that the orientation was intentionally calculated in order to secure an advantageous natural illumination of the interior. Light and visual effects served to reinforce the symbolic significance of the sacred space that furthermore provides evidence for optical considerations with respect to late antique concepts of light and vision.
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Karim, Somayeh, Parnaz Goodarzparvari, Mohammad Aref, and Pardis Bahmani. "A COMPARATIVE STUDY OF THE GEOMETRIC MOTIFS OF THE ATEEQ MOSQUE (SHIRAZ) AND THE CORDOBA MOSQUE (CORDOBA) WITH A CONTEXTUAL APPROACH." Journal of Islamic Architecture 6, no. 2 (December 9, 2020): 93–102. http://dx.doi.org/10.18860/jia.v6i2.10113.
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Islamic art is an introverted art derived from mystical thought and believes expressed in artistic activities and is pure, indigenous, and commensurate with the spirit and social status of its time; Islamic architecture also has an Islamic foundation, and it has a close relationship with the decorative arts. In this regard, mosques are considered the most significant Islamic architecture achievements; in most cases, geometrical shapes and motifs with religious and natural themes have been used. Therefore, the present study's primary purpose is to study the geometric patterns of the Ateeq Mosque (Shiraz) and the Cordoba Mosque (Cordoba) by a descriptive-analytical method. Analyzing the collected data revealed that the motifs and their role in both the Ateeq Mosque of Shiraz and Cordoba are similar. Among the essential motifs observed in these two mosques can be the circle (symbol of being and the symbol of heaven and God), Shams (symbol of the sun and celestial light), the triangle with the downward vertex, the symbol of the female principle and the upward symbol of the mountain symbol and the masculine principle and crucifix (symbol of rotation of the seasons and permanent reproduction) and spiral as the symbol of fertility. In the Islamic period, these motifs are decorated with architectural spaces. The geometric motifs represent natural elements. As appreciation and sanctification of natural elements have been noticed, geometric motifs symbolically evoke those sacred elements and were illustrated in Iran and Spain's arts.
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Finsten, Laura, Stephen A. Kowalewski, Charlotte A. Smith, Mark D. Borland, and Richard D. Garvin. "Circular Architecture and Symbolic Boundaries in the Mixtec Sierra, Oaxaca." Ancient Mesoamerica 7, no. 1 (1996): 19–35. http://dx.doi.org/10.1017/s0956536100001267.
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AbstractSystematic survey of 1,000 km2in a mountainous zone of the Mixteca Alta in Oaxaca, Mexico, has produced detailed architectural data at a large number of pre-Hispanic settlements. One unusual architectural form, circular stone foundations, apparently dates to the Late Postclassic period. Comparisons to similar architectural forms described in the archaeological and ethnographic literature of Mesoamerica and in the Mixtec codices suggest that they may have been sweatbaths. Analysis of their regional distribution and site contexts leads to interesting conclusions about additional contexts for sweatbath ritual. The symbolic link between royal birth, marriage, and sweatbath ritual is clear in the Mixtec codices. An additional use may have been in rituals affirming community identity and marking community boundaries. We suggest a further connection to the use of sweatbaths in Mixtec toponyms and their association with sacred places on the Mixtec landscape, both of which reflected the importance of marriage alliance and female royal inheritance in the territorial strategies of Postclassic Mixtec kingdoms.
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Jamaludin, J., and Purnama Salura. "Understanding the Meaning of Triangular Shape in Mosque Architecture in Indonesia." International Journal of Engineering & Technology 7, no. 4.7 (September 27, 2018): 458. http://dx.doi.org/10.14419/ijet.v7i4.7.27359.
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This paper discuss the formal and symbolical meaning of triangular shape of contemporary mosque architecture in Indonesia, with case study the mosques designed by Ridwan Kamil in Jakarta and in rest area Km 88 toll road between Jakarta and Bandung. There was a question in the public whether the triangular shape was adequate to be used as a mosque building. This paper propose answers with the analitical descriptive to understand the symbolical meaning of triangle shape used Sundanese community culture, one of Indonesian ethnics as representation. The paper used comparation and interpretation method to reveals the meaning of triangle shape in local culture and to find the connection to triangle shape in contemporary mosques architecture. The vernacular mosques in Indonesia known with their pyramid shape stacked roof with pointed roof in the peak. The pointed roof derived from the mountain that believed as the sacred place and used as symbol in the form of stacked roof of mosque. The finding of this paper is that triangular form can be accepted as mosque architectural form for the symbolical meaning derived from Sundanese culture. In the two mosques, this triangle shape enlarged and become praying room and as bridge to the God realm. The shape then achieved two purpose, as symbol of holy place and also fullfiled the function of praying room.
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Andrushchenko, Stepan, and Natalia Gromova. "Windows and Doors as Border Symbols of Home Space." Ethnic History of European Nations, no. 61 (2020): 16–26. http://dx.doi.org/10.17721/2518-1270.2020.61.02.
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The article deals with the ritual significance of some traditional Ukrainian dwellings architectural elements, such as windows and doors. This theme is not completely studied at the scientific literature, because scientists mainly describe the external characteristics of architectural forms and only rarely mention their symbolic meaning. So, this article is based on the analysis of many examples of Ukrainian folklore, first of all lyric and calendar songs, legends and fairytales, as well as the rituals describing, taken by cultural anthropologists and folklorists from the 19th century. During the study the authors find out, that windows and doors in Ukrainian traditional culture were perceived as complex elements, because they were both part of the dwelling complex and had a symbolic meaning and special functions in rituals and folklore. Having lots ot similar features, the ritual meaning of windows and doors at the same time have some differences. Doors, first of all, served as an entrance and an exit, so their basic function was to pass in the house, to let out from it and to provide protection; instead, the window provided a visual connection to the outside world. The general sacred value of the studied objects was their role as a symbolic border between «own» and «alien» space. This provided a connection between the inhabitants of the house and the outside world and protected the interior home space from real and mythological threats from the outside. Windows and doors in traditional culture had to provide the transparency of limits. As a result, the studied architectural elements of the dwelling have been given the status of particularly dangerous points of contact with the outside world. It was signified in the relevant beliefs of our ancestors. People must cross the threshold without stepping on it, it was impossible to sit on it, it was impossible to stand on it during the thunder. As it was mentioned above, windows and doors served as the limit between «own» and «alien» space, therefore they could not only let the souls of the dead in the house on some calendar holidays, but they also protect house from unwanted arrival of different demonological creatures (witches, mermaids, living dead, etc.), for what on windows and doors, above them and under them were put various amulets. Sacralized locuses of home space have become elements of calendar, family, magic rituals that have accompanied a person in traditional society from birth to death.
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Uścinowicz, Jerzy. "Symbolic structure in the architecture of the temple – introduction into theology of the sacred art." Elpis : czasopismo teologiczne Katedry Teologii Prawosławnej Uniwersytetu w Białymstoku, no. 23-24 (2011): 139–80. http://dx.doi.org/10.15290/elpis.2011.23-24.07.
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Boutros, Ramez. "Dimensions and Proportions in Egypt’s Byzantine Religious Architecture." Journal of the Canadian Society for Coptic Studies 12 (December 3, 2020): 35–57. http://dx.doi.org/10.5913/jcscs.2020.86435971.
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In the study of Egypt’s Byzantine religious architecture, modern scholarship has been focusing essentially on es- tablishing the typology of plans and their relative chronology. Church building activity has also been studied by using the written sources complimented by the archaeological evidence. is abundant Christian archaeological material shows an amazing variety and complexity in church designs. ere is a need of a rationalized analysis of the proportion ratios of the church buildings, and a necessity to focus on the dominant factors dictating its size, the type of its structure, and the quantities of materials used in its construction. e study of geometric shapes and the evolution of their sacred perceptions is yet another interesting facet of this type of architecture. e purpose of this paper is to explore new approaches in studying the proportion ratios and its correlation with the measuring units used in Byzantine church architecture and the existence of any symbolic concepts.
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Gómez Gómez, María Belén. "El proyecto religioso del cardenal Montini a la vanguardia de la arquitectura milanesa. El caso de Mater Misericordiae, icono de la modernidad | Cardinal Montini´s Religious Project, on the avant-garde of Milanese architecture. The study case of Mater Misericordiae, an icon of modernity." ZARCH, no. 8 (October 2, 2017): 300. http://dx.doi.org/10.26754/ojs_zarch/zarch.201782168.
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Durante la década de los años cincuenta del pasado siglo la ciudad de Milán creció a un ritmo acelerado al tratar de acomodar a la población que, como consecuencia de los movimientos migratorios acaecidos al final de la Segunda Guerra Mundial, se había ido alojando en la periferia. Algunas entidades, como la Diócesis de esta ciudad, trataron de dar ayuda espiritual a los habitantes de estas áreas en crecimiento, consolidándose esta iniciativa en un plan de construcción de nuevos complejos parroquiales en los alrededores de la ciudad. En el año 1955 es nombrado Arzobispo de Milán Giovanni Battista Montini, futuro Papa Pablo VI, que será una figura clave, el verdadero artífice tanto de este plan de construcción de iglesias como de la modernización de la imagen de la arquitectura sacra en Milán. Montini encargó muchos de los proyectos a arquitectos innovadores de experiencia probada, que trabajaban habitualmente en Milán o en otras zonas de Italia, pero también solicitó la redacción de algunos proyectos a jóvenes arquitectos que apenas tenían experiencia en el campo de la arquitectura eclesiástica. Con él, el ritmo de construcción de iglesias se incrementó considerablemente en los alrededores de la ciudad, llegando a levantarse en esos años más de cien nuevos edificios sacros. La intención de este texto es señalar, a través de una serie de ejemplos relevantes, entre los que destaca la iglesia Mater Misericoridae, cómo la Diócesis de Milán contribuyó, mediante una renovación de la imagen de la Iglesia como institución a través de su arquitectura, a definir la identidad de algunos barrios periféricos de la ciudad. En ellos, las nuevas construcciones eclesiásticas se convirtieron en hitos, símbolos de una importante renovación litúrgica que se había iniciado unas décadas antes en otros puntos de Europa Algunas de las nuevas propuestas arquitectónicas, en las que la Iglesia Católica apostó por apoyar la reconciliación entre arte moderno y arte sacro, se convirtieron en modelos de referencia en los que confluían tradición y modernidad. El caso concreto de la Iglesia Mater Misericordiae permite reconocer un alto grado de experimentación, muy por encima de otras arquitecturas coetáneas, tanto religiosas como civiles, muestra de la apuesta que la Diócesis milanesa, y en concreto el Cardenal Montini, hizo al apoyar la construcción de un proyecto renovador de verdadero carácter vanguardista.PALABRAS CLAVE: Milán de posguerra, arquitectura sacra, renovación litúrgica, iglesia y modernidad. During the 50s’ the city of Milan experienced a fast growth to accommodate the population that arrived into the city as a consequence of the migratory movements that took place at the end of the Second World War. Some organizations, such as the Archbishopric of the city, tried to provide with spiritual help to the inhabitants of this developing areas. This initiative turned into a plan for the construction of new parish churches in the settlements around the city. In the year 1955 Giovanni Battista Montini - who a few years later would become pope Paulus VI- Became archbishop of Milan and took over the management and planning for the construction of new churches. He was responsible for the modern image of sacred architecture in this city. Montini commissioned a group of innovative architects with proven experience that had already worked in Milan or other parts of Italy to deliver some of the Projects. At the same time, he appointed a group of young architects with relatively little experience in the field of ecclesiastical architecture and put them in charge of a second group of projects projects. Under Montini the rhythm of churches construction in the neighborhoods around Milan increased considerably and more than one hundred churches were constructed during this period and the following years. This paper discusses the contribution of the Diocese of Milan, within the renovation of the church as an institution through its architecture, to define the identity of some of the new peripheral areas of the city. For this purpose, some of the most interesting examples of architecture constructed during this period have been selected. Among all this constructions the church of Mater Misericordiae can be singled out for a number of reasons. These new sacred constructions became symbols of the important Liturgical renewal that had started a few decades before in some other parts of Europe. Some of these new architectural proposals, in which the Catholic Church tried to reconcile modern and sacred art, became new models of reference in which tradition and modernity went hand by hand. In the case of the church of Mater Misericordiae a high level of experimentation, well above some other contemporary sacred and civil constructions, can be recognized. This is an evidence of Montini’s commitment, to support a really avant-garde renewal project.KEYWORDS: Post-war Milan, Sacred Architecture, Liturgical renewal, church and modernity.
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Maffei, Luigi, Massimiliano Masullo, Roxana Adina Toma, and Danila Jacazzi. "The role of cloisters in historical cities." Resourceedings 2, no. 3 (November 12, 2019): 114. http://dx.doi.org/10.21625/resourceedings.v2i3.634.
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Over the centuries religious architecture had a significant role in social and cultural life of people. In the past sacred architectures with their silent spaces were symbolic sites were the “voice” of God was invoked by religious who dedicated most of their life to prayer and spiritual readings.Among them, the cloisters, with their typical architectural conformation of open-air space protected by galleries or corridors, enriched by fountains and gardens had a relevant role also for their restorativeness' capability. They were used as healing places where body, mind and spirit could benefit from the surrounding environment.Nowadays they are still attended by men of faith, pilgrims and religious believers but also, simply, by people in searching of quietness. Their sight on the sky, the greenery and the water, and their cultural elements still affects strongly the physiological and emotional restoration process of the people and, in overcrowded cities where green areas misses, they can represent a new resource. Recent studies highlighted the possibility to use them as pockets of quiet. The paper describes their diffusion in the urban tissue of some cities in Campania and their main characteristics.
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Hendola, Feby, Ratna Safitri, and Rahma Purisari. "PERAN ELEMEN ALAM PADA SEQUENCE RUANG IBADAH STUDI KASUS MASJID BAHRUL ULUM, TANGERANG SELATAN." Jurnal Arsitektur KOMPOSISI 12, no. 2 (March 20, 2019): 129. http://dx.doi.org/10.24002/jars.v12i2.2047.
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Abstract: Sacred places are often characterized by architectural elements and arrangement of certain landscapes to form a different impression from the surroundings. Architecture is able to form space symbolically sacred through the arrangement that directs the congregation in worship. The natural elements in the landscape have an important function in forming the beauty that reminds human relations with the universe. Writing shows an understanding of the relationship between elements of nature (land, water, air, and light) with elements of architectural design in a place of worship. The case is Masjid Bahrul Ulum (MBU) in South Tangerang. MBU has a beautiful landscape, which supports the atmosphere from outside to inside the building. The researcher analyzed the role of natural elements in worship activities which were felt starting from the entrance of the mosque, the courtyard, the terrace, the place of ablution to the main worship hall. The search results show, the role of significant natural elements in the worship space sequence becomes a symbol as well as forming an atmosphere.Keywords: religious architecture, landscapes, mosques, prayer rooms, sacred.Abstrak: Tempat sakral sering ditandai dengan elemen arsitektur dan penataan lanskap tertentu hingga membentuk kesan yang berbeda dengan sekitarnya. Arsitektur mampu membentuk ruang menjadi sakral, secara simbolik melalui penataan yang mengarahkan jemaah dalam beribadah. Elemen-elemen alam pada lanskap memiliki fungsi penting dalam membentuk keasrian yang mengingatkan hubungan manusia dengan semesta. Tulisan ini merupakan upaya memahami keterkaitan antara elemen alam—tanah, air, udara, dan cahaya—dengan elemen perancangan arsitektur pada tempat ibadah yang mengarahkan umat dalam beribadah. Kasus peneliti adalah Masjid Bahrul Ulum (MBU) di Tangerang Selatan. MBU memiliki lanskap yang asri, sehingga mendukung suasana tentram hingga ke dalam bangunan. Peneliti menganalisis peran elemen alam dalam kegiatan peribadatan yang dirasakan mulai dari masuk lingkungan masjid, pelataran, teras, tempat wudu hingga ruang peribadatan utama. Hasil penelusuran menunjukkan, peran elemen alam dalam sequence ruang ibadah menjadi simbol sekaligus pembentuk suasana.Kata Kunci: arsitektur religius, lanskap, masjid, ruang ibadah, sakral.
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Proctor, Robert. "Churches for a Changing Liturgy: Gillespie, Kidd & Coia and the Second Vatican Council." Architectural History 48 (2005): 291–322. http://dx.doi.org/10.1017/s0066622x00003816.
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The relationship of Modernism in architecture with the symbolic needs of church- building was fraught with the dangers of betrayal: whether the architect indulged in personal spiritual expression, or used traditional forms, he could be accused of stylistic excess; if he applied a reductive functionalism, the result could be faulted as failing the brief. After the Second World War, expression and tradition were gradually admitted into Modernism to expand and enrich its vocabulary, and the limits of functionalism were reassessed. Churches were a field in which architects of the Modern Movement could explore their new concerns with poetic form and monumentality, in contrast to the more prosaic jobs in housing, schools, and so on; but few architects had the chance to work on churches in quite the same volume as the more pressing post-war building tasks. One firm of architects with an exceptional opportunity was Gillespie, Kidd & Coia, responsible for a series of Roman Catholic churches in Scotland, ‘the finest body of post-war church building in Britain’, according to Elain Harwood.1 This work has attracted attention from architectural historians before, particularly for its rich and humane interpretation of sacred architecture.
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Riccioni, Stefano. "Rewriting Antiquity, Renewing Rome. The Identity of the Eternal City through Visual Art, Monumental Inscriptions and the Mirabilia." Medieval Encounters 17, no. 4-5 (2011): 439–63. http://dx.doi.org/10.1163/157006711x598802.
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AbstractDuring the eleventh and twelfth centuries the Church began a process of renovation (renovatio) and the city of Rome was given new meanings. Antiquity is part of the identity of the Eternal City; the reuse or reframing of aspects of antiquity inevitably transformed the image of Rome. Public spaces, architecture and objects were given new Christian readings. Inscriptions, present both in sacred and secular settings, played an important role. A similar rewriting can also be found in travel literature and descriptions of the city, such as in the Mirabilia urbis Rome, where ancient monuments were re-interpreted to demonstrate the superiority of Christianity. Inscriptions were used as symbols of authority, as can be seen in the altar of the church of Santa Maria in Portico, in the papal thrones (San Clemente, Santa Maria in Cosmedin, San Lorenzo fuori le mura) and also in mosaics (San Clemente, Santa Maria in Trastevere). Inscriptions appeared on porticoed atriums built on new churches and added to older foundations, and they were used to renew ancient monuments and places. The Roman Commune used a similar strategy with civil buildings. The image of Rome was transformed through restoration and new construction that used spolia as meaningful objects, and inscriptions for their authoritative value.
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Carile, Maria Cristina. "The Sacred Architecture of Byzantium: Art, Liturgy and Symbolism in Early Christian Churches by Nicholas N. Patricio." Catholic Historical Review 101, no. 3 (2015): 599–600. http://dx.doi.org/10.1353/cat.2015.0117.
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Sharer, Robert J., Loa P. Traxler, David W. Sedat, Ellen E. Bell, Marcello A. Canuto, and Christopher Powell. "EARLY CLASSIC ARCHITECTURE BENEATH THE COPAN ACROPOLIS." Ancient Mesoamerica 10, no. 1 (January 1999): 3–23. http://dx.doi.org/10.1017/s0956536199101056.
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Excavations beneath the Copan Acropolis provide the most complete record known for the origins and development of an Early Classic Maya royal complex (ca. a.d. 420–650). Beginning at the time of the historically identified dynastic founder, the earliest levels include the first royal compound, centered on a small talud-tablero platform, a vaulted tomb that may be that of the founder, and an adjacent tomb that may be that of the founder's wife and dynastic matriarch. The timing and development of architecture provide evidence of the founding and growth of Copan as the capital of a Classic-period polity during the reigns of the first seven kings (a.d. 426–544). By the reigns of Rulers 8–11 (a.d. 544–628), the Early Classic Acropolis covered about the same area as its final version in the Late Classic. Documentation of specific Acropolis buildings provides evidence of the external connections that reinforced the authority of Copan's Early Classic kings. Building sequences reflect the perpetuation of political power by using important locations as symbolic links to the sacred past. The Early Classic Acropolis also provides new evidence for the beginnings of palace architecture that have important implications for the origins of Maya state-level organizations. Overall, the findings from the Early Classic Copan Acropolis promise to significantly advance our understanding of the origins and development of Maya state systems.
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Chernyshev, Denys, Yulia Ivashko, Dominika Kuśnierz-Krupa, and Andrii Dmytrenko. "Role of natural landscape in perception of Ukrainian sacral architecture monuments." Landscape architecture and art 17 (March 14, 2021): 13–21. http://dx.doi.org/10.22616/j.landarchart.2020.17.02.
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The article analyses the impact of natural environment on the creation of a Christian church design, as an example, reviews the Orthodox architecture of Ukraine – historical and contemporary one. From time immemorial, Orthodox churches were erected in the most picturesque places – on high hills, steep banks, near rivers and lakes – so that the temple was reflected in the water surface. A typical example is the historical silhouette of the steep right bank of Kyiv, formed by many churches, cathedrals and monasteries located along the edge of the hilly shore. If temples in the urban environment were constrained by the conditions of dense quarterly development (the principal cathedrals and monasteries were an exception), then the peculiarity of the remote suburban monasteries – the hermitages – was precisely the creation of nature and architecture picturesque combination. At the monasteries, parks, gardens and flower beds were created, artificial lakes were arranged. During the domination of the atheistic ideology, temple construction was in decline, most of the cathedrals, churches and monasteries were destroyed or redesigned under the socialist functions of clubs, museums of atheism, schools and storages. The contemporary course in the creation of new Orthodox churches is aimed at restoring the lost sequence in the church building. In this case, particular attention is paid to the natural environment: churches are built in park areas, in forest parks, on the banks of lakes, surrounded by flower beds. The relevance of the study is explained by the presence in Ukraine of a large number of Orthodox churches – both architectural monuments and newly built, which are traditionally surrounded by gardens, parks and flower gardens as symbols of their non-earthly purpose, the image of the Garden of Eden. Therefore, during the restoration and new construction of such objects, it is necessary to understand the features of the сhurch landscape design, which has been formed and improved over the centuries.
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Kusuma, Theodorus Aries Briyan Nugraha Setiawan, and Andry Hikari Damai. "RUMAH TRADISIONAL JAWA DALAM TINJAUAN KOSMOLOGI, ESTETIKA, DAN SIMBOLISME BUDAYA [THE JAVANESE TRADITIONAL HOUSE IN REVIEW OF COSMOLOGY, AESTHETIC, AND CULTURAL SYMBOLISM]." Kindai Etam : Jurnal Penelitian Arkeologi 6, no. 1 (September 4, 2020): 45–56. http://dx.doi.org/10.24832/ke.v6i1.58.
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Rumah adalah kebutuhan primer dalam kehidupan manusia. Dalam perkembangannya, rumah tidak hanya menjadi tempat tinggal untuk berlindung dari segala bentuk ancaman, namun juga memiliki makna-makna filosofis. Makna filosofis yang terkandung dalam rumah tradisional Jawa yang didasarkan pada kemampuan manusia dalam mempelajari lingkungan tempat tinggalnya. Untuk menemukan makna filosofis tersebut kita harus melihat bentuk, ukuran, dan hal lain yang mendasari rumah tersebut dibangun. Makna filosofis tersebut dapat dilihat pada kehidupan sehari-hari masyarakat Jawa, terutama dalam pembuatan arsitektur rumah. Permasalahan yang diangkat adalah bagaimana hubungan antara kosmologi, estetika, dan simbol dalam bentuk arsitektural rumah tradisional Jawa. Tujuan penelitian ini adalah mengetahui hubungan antara kosmologi, estetika, dan simbol dalam bentuk arsitektural rumah tradisional Jawa. Metode yang digunakan adalah metode deskriptif analitis. Hasil penelitian ini memberikan gambaran umum beserta penjelasan mengenai bentuk arsitektur dari rumah tradisional Jawa. Simpulan yang didapatkan yaitu rumah tradisional Jawa sebagai bentuk arsitektural, simbolisme budaya, dan estetika masyarakat, serta kesakralan dan profanitas dalam setiap elemen rumah tradisional Jawa.
House is a primary need in human life. A house is not only a place to shelter from threats, but also has philosophical meanings based on the human ability studying their live environment. We should see the shape, size, and other things that underlie the building houses to find the philosophical meaning. It can be seen in the daily life of Javanese people, especially in the making of home architecture. The problem is how the relationship between cosmology, aesthetic, and symbols materialized in the architectural form of traditional Javanese houses. The purpose of this study was to determine those relationship. The method is descriptive analysis, and discussion provides a general description along with an explanation of the architectural forms of traditional Javanese houses. The result shows the traditional Javanese house has a role not only as an architectural form, cultural symbolism and aesthetics of the community, but also as the sacred and profanity in its every element.
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Ghosh, Nabaparna. "MODERN DESIGNS: HISTORY AND MEMORY IN LE CORBUSIER’S CHANDIGARH." Journal of Architecture and Urbanism 40, no. 3 (September 25, 2016): 220–28. http://dx.doi.org/10.3846/20297955.2016.1210048.
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Located at the foothills of the Sivalik Mountains, Chandigarh was the dream city of independent India’s first Prime Minister Jawaharlal Nehru. In 1952, Nehru commissioned the Swiss-French architect Le Corbusier to design Chandigarh. Scholars often locate in Corbusier’s plans an urban modernity that required a break with the past. Moving away from such scholarship, this article will argue that Chandigarh marked a climactic moment in Le Corbusier’s career when he tried to weave together modern architecture with tradition, and through it, human beings with nature. A careful study of the cosmic iconography of Chandigarh clearly reveals that nature for Le Corbusier was more than a vast expanse of greenery: it was organized in symbolic ways, as a cosmic form emblematic of Hindu mythologies. I will argue that in addition to local conditions – economic and cultural – that impacted the actual execution of Le Corbusier’s plans, cosmic iconography shaped a modernism profoundly reliant on Hindu traditions. This iconography also inspired a new generation of Indian architects like Balkrishna Vithaldas Doshi (1927 – present). Doshi played a key role in authoring the postcolonial architectural discourse in India. Following Le Corbusier, he advocated an architectural modernism anchored in sacred Hindu traditions.