Art and Architecture of the Worlds Religions (2024)

Art has been included customary and possible dimensions to speak by man with holiness, before when was related to the veil of human's egotism. In this age, since the dimension was not sourced from right and truth for man and good names of providence did not come to seek the veil of idolatrous, symbols and motifs appear the occult meanings and themselves are showy of theological facts. The art can appear as religion, because from our sight of principle of knowledgeable, art and religion are intertwined naturally. Every ingenious demonstrate the mysteries that don't appear except with brightness of intellectuality, and it is for having a share of the divine realm, which is the agency cause of manifesting artistic works. The ingenious should attract to the truth to create the making clear beautiful faces by assisting God diffusion. Ingenious lives in the shadow of the verbal knowledge tree. In this sense, if we look closely, we can find very similarities between religious and artistic knowledge: knowledge of art is as immediate and direct as religious knowledge. In the knowledge of art, the reason was not discussed as well acquired knowledge. Therefore, in this study, we investigate the religious influence on architecture, especially on the architecture of religious buildings such as churches and mosques. CAMI VE KILISELERIN MIMARISINE ROLÜ VE DIN ETKISI ÖZ Sanat insanın bencilliğin peçe ile ilişkili iken önce, kutsallık ile adam tarafından konuşmak için alışılmış ve olası boyutları dahil edilmiştir. Bu çağda, boyut insan ve ihtiyat iyi isimler için sağ ve gerçeği kaynaklı değildi çünkü putperest peçe aramaya gelmedi, semboller ve motifler gizli anlamları ortaya çıkar ve kendilerini teolojik gerçekler gösterişli bulunmaktadır. bilgili, sanat ve din ilkesi bizim gözden doğal iç içe, çünkü sanat, din olarak görünebilir. Her marifetli zihinsellik parlaklığında dışında görünmüyor sırlarını göstermek ve sanatsal eserlerini tezahür ajansı nedenidir ilahi aleme, bir paya sahip içindir. ustaca Tanrı difüzyon yardımcı olarak yapma açık, güzel yüzler oluşturmak için gerçeğe çekmek gerekir. sözlü bilgi ağacının gölgesinde Dahice yaşıyor. yakından bakarsanız bu anlamda, dini ve sanatsal bilgi arasındaki çok benzerlikler bulabilirsiniz: sanat bilgisi dini bilgi gibi acil ve doğrudan. sanat bilgisi olarak nedeni de elde edilen bilgiyi ele değildi. Bu nedenle, bu çalışmada, özellikle kilise ve cami gibi dini yapıların mimarisine, mimarlık dini etkileri araştırıldı. INTRODUCTION Since the beginning of human history, art has always been synonymous with religious subjects and expressions and concepts, which gradually predominance of mundane concepts on the human life, the fields were proportionally branched from it. In fact, just as blasphemy and polytheism prevail over

In: (Art) Without Borders: Medieval Art and Architecture in the Ore Mountains Region. Praha 2015, 173–203

Since the beginning of civilisation the history of man is accompanied by the phenomenon of transcendent, something that goes beyond him. Originally, the experience of God is given to man by nature. God dwells in the mountains, rivers, water, and divine reality is interpreted in analogy with the experience of light. In the process of the formation of religions there is continuity of the original symbols thus natural symbols remain the fundamental symbols of the divine nature. Light is a symbol present in all religions: sanscrit's devah, greek's Theos and the latin's deus that we translate God share a common root indoeuropeen's de'o, which means light. Light is therefore omnipresent symbolic determination of God.The light in a special way finds is interpretation through sacred architecture of different religions. Uniformly illuminated spaces, spaces in which light creates certain accents, floating dome etc., are some of the architectural appearances based on different meanings of symbols of light. The intention of this paper is to analyze the symbolic meaning of lights in the world's great religions Judaism, Christianity, Islam and Buddhism and the forms of architectural interpretation of that symbol through selected examples.Contemporary sacred architecture is faced with the problem of "forgetting the symbol" and of reducing complex phenomenon of sacred space to sensoryc - aesthetic level only. With this approach sacred spaces are becoming spaces emptied of meaning, separate from the inner sense which is rooted in the inner meaning of religion.The aim of this paper is to indicate that the use of light as an intangible factor of architectonic and identity of sacred architectural space goes beyond its primarly reasonableness above all in the perception of light in the context of the phenomenology of symbols and its founding in the religious onotology.

Religion and the Arts, 2013

This introduction explores the connections between the worlds of art and religion over the past fifty years. Focusing on the discursive coherence of contemporary art and religion, Lerner examines the attempts to bring some order to a theme that has cyclically and persistently arisen in recent art making. In this overview of critical and curatorial interpretations, crucial areas of inquiry are: the religious and secular paradigms addressed within contemporary art practices; the relationships between works of art and institutional questions; the confrontations of new artistic modes; and the survival of religious symbolic structures.

Architectures of the sacred: Memory and Project, 2009

ABSTRACT As the coordinator of this I International Conference on Contemporary Religious Architecture «Architectures of the sacred: Memory and Project», I believe it is my turn to make a general introduction. The purpose is that all of you who are not acquainted with the subject of this conference may be able to frame properly all of the speeches to be heard during the next three days. For this reason, my paper will provide you with a general scenario. I believe that this is the easiest way to understand the topics to be discussed and to get a reasonable idea of the debates held during the next three days.I have divided my paper into three sections. First of all, I will introduce some key concepts which should be borne in mind before stating to talk about religious architecture. Next, I will review what has happened so far in this field. And, finally, I will mention the work lines being currently followed. Obviously, I cannot deepen the knowledge on each of these sections due to lack of time, but I hope that I will manage to mention their most relevant notions.

This paper start from two assumption:1.the illuminist thought has represented a turning point in Western history, but its has “frozen” inside its “rational domain” part of our spirituality;2.this cultural attitude is an intrinsic necessity that characterize the final time of culture, and we can read these aspect through the artistic, architectural, musical, etc. symbolism.The built environment, with its geometrical symbolism, talks about the culture that has generate it, and express the intimate values of a culture. So, if in the past the built environment was interconnected with their physical and spiritual surrounding, the contemporary has express the excessive power of mechanical culture determining the loss of human identity in favour of “artificial identity”. This artificial structure has transferred its cultural reductionism also to urbanism and architecture caused laceration of society and deformation of ethical and esthetical values. This new design represent and symbolize new values like hedonism and a devoid sense of nothing, and are sculptural expression of a society. I’ll demonstrate because this happen today, what we can learn from the past, and i propose a new approach, structured on holistic way and able to demonstrate that the science can and must married the beauty and spirituality.

The Church Building as a Sacred Place: Beauty, Transcendence, and the Eternal, 2012

Conventional wisdom has a great effect on many aspects of life, including the built environment. Being social creatures, we tend to believe what others do, and follow the example of those closest to us in time or place. However, it is also beneficial for us to confront the conventional wisdom and call it into question. There are many so-called “principles of church architecture” which are, in reality, myths.

Oxford Research Encyclopedia of Religion

Exhibitions and displays of religious art have been an integral part of religion since the manufacture of the first religious objects and the adornment of the first sacred places. Growing more complex and varied with time, such manifestations within religions provided models for art exhibitions associated with academies, galleries, museums, and other institutions with secular purposes by the mid-18th and 19th centuries. Typically organized around the works of an artist, a group of artists, art academies, or the holdings of private lenders, such exhibitions included works with both sacred and secular subjects. Exhibition design drew on the shapes and materials of the works, privileging formal qualities over meanings, including any religious content, even for works that had once belonged to sacred settings but had migrated to private collections. The final decades of the 19th and early 20th centuries were characterized by both exhibitions organized by religious authorities for the gen...

ACTA MUSEI TIBERIOPOLITANI, vol. 3, 2020

The present paper deals with the concept of sacred space as the dwelling place of God and an iconographic symbol for its visual representation. Since the idea about the otherworld as a realm of gods is common for almost all religions, there are only few symbols employed as visual denotations of the sacred space that have been used in the bigger part of the iconographic systems. The ancient radiant shapes around the figures of gods has turned into what is known today as an aureole, vesica piscis and mandorla, and has settled into the pictorial language of religions as the main visual expressions of the divine space where gods dwell.

An Hermeneutic Exploration of René Guénon's 'The Symbolism of the Cross' Applied to Sacred Architecture, 2018

This thesis examines how the architecture of the various sacred traditions, all manifest in their built expressions a universal symbolic content, while at the same time being absolutely unique in their own inherent particular spiritual dispensation. One major aspect of this symbolic content is the embedding of the three-dimensional cross in its various modes within their built arrangements. The correlation between the three dimensions of space and the metaphysical symbolism of the cross was the subject of a short but important work by the French traditional metaphysician René Guénon titled Symbolism of the Cross (Le Symbolisme de Ia Croix). In describing the purpose of the work Guénon wrote that it was 'to explain a symbol that is common to almost all traditions, a fact that would seem to indicate its direct attachment to the great primordial tradition'. While several authors on sacred architecture acknowledge the importance of Guénon's work, it has generally been applied only in limited considerations and to particular traditions. However, there remains many levels to this work that require further general elaboration and exploration.Guénon uses the symbolic potential of three-dimensional space as a coherent and indispensable means of developing traditional metaphysics. An hermeneutic exploration and study of Guénon's Symbolism of the Cross, allows insights into various aspects of all sacred architecture, even when the tradition is unfamiliar. Equally, exploring various themes related to spatial symbolism in sacred architecture can give insights into the interpretative reading of Symbolism of the Cross.

RICERCHE DI PSICOLOGIA

The psychology of art has had an enormous development since the middle of the last century; however, no much work has been done in association with religious and sacred art. This paper aims to provide a brief history of the use of images in the three great monotheistic religions, i.e., Judaism, Christianity, and Islam.All three religions have been influenced by the commandment (Exodus, 20:4), which prohibits idolatry. Nevertheless, when it comes to the use of images with religious content, the commandment is interpreted differently by the three. If in Judaism and Islam the use of images is not particularly widespread and is bound to precise conditions, in Christianity a strong relationship with the visual arts has developed, at least until the Reformation. After this split, the use of images was only encouraged by the Catholic Church even though, with the Enlightenment, religious and sacred art suffered a decline even in Catholic culture.It was not until the twentieth and twenty-fir...