Profile of a Sacred Space - Caitlin Dack

Shrine to Vairocana Buddha

General Description:

Imagine a huge Buddha-covered cliff facing a beautiful river with the biggest Buddha you could even think of sitting in the middle, gazing out at you. The place you’re imagining is the Shrine to the Great Vairocana Buddha, one of the many shrines located in the Grottoes, part of the Longmen Grottoes near Luoyang, China. The many different caves and carvings which cover the Grottoes were completed under the sponsorship of Empress Wu during the year 676. This monumental shrine is a prime example of Chinese art. A lot of the details, such as the lotus petals which Buddha sits upon, have been worn away by erosion and weathering but the prevalent beauty is obvious, never the less.

Architectural Design:

The 57 foot Shrine to Vairocana Buddha is a landscape design, carved into the natural limestone hills of the Grottoes. This Shrine is the largest part of the Fengxian Caves. This particular shrine depicts Vairocana Buddha sitting on a huge lotus flower, surrounded by some of his disciples and other spiritual figures as well. To the left and right of the Buddha are many other carvings, mostly representing spiritual beings or deities, there are also many small caves, which are filled with more carvings as well as other art forms.

Harmony With Nature:

Since the shrine is a dedication to Buddhism, which represents harmony with the self, surroundings, and nature, it is naturally harmonious. Being of limestone, it represents the element, earth. All the figures have very strong, yet very soft expressions, they are calm, like the water running in front of it. From the facial expressions, to the way it reflects the sun, creating a glow that accents itself, each part of the shrine radiates peace. Most aspects of the shrine represent accents of the Buddhist way of life. For example, though the earth was manipulated, it was added to and improved; the place was left in a better condition than it was found. Unlike mining which leaves the used land empty and scarred, this adjustment left something beautiful

behind.

Symbolism and Sacred Objects:

Every part of this shrine is symbolic. It used to be covered in rich colors and bright gold, all of which is long gone due to people, weathering and other deconstructive forces, which represents prosperity and wealth. The other figures carved out of the limestone face represent spirits and deities which are worshiped by Buddhist’s. Features of the other figures represent what the respective spirit controls/has power of. The face of Vairocana Buddha is said to be made in the likeness of Empress Wu Zetian, and has been called the ‘Mona Lisa’ of China.

How it is Used by Worshippers:

The Longmen Grottoes are used by worshipers as a pilgrimage destination on their journey to well being. Visiting this site is a trip made by Buddhist from all around the world. It being so large, and astounding is also used by tourist as a ‘must see’ attraction. The Shrine of Vairocana Buddha is also a part of the Fengxian Temple. Supposedly by worshipping at the shrine, not only visitors gain improved karma, the emperor who commissioned it does as well.

Sources:

1. http://www.travelchinaguide.com/attraction/henan/luoyang/longmen.htm
2. http://www.orientalarchitecture.com/china/luoyang/longmen.php
3. http://www.world-heritage-tour.org/asia/china/longmen/feng-xian-si/sphere-flash.html
4. http://www.international.ucla.edu/china/papers/mcnair_paper.pdf
5. Exploring Art by Margaret Lazzari and Dona Schlesier (Textbook

Profile of a Sacred Space - Monica Davila

Pyramid of the Sun at Teotihuacán

General Description

The Pyramid is the third largest pyramid in the world. It is one of the most visited archealogical sites in Teotihuacán . The whole city is aligned astronomically. It is thought to be dedicated to sun worship around 150 bc. The Pyramid of the Sun is aligned east-west and is perpendicular to the point on the horizon where the sun set on the equinoxes. It is believed that ceremonies and pageantry were held on the steps and ledges. Wheels nor animals were used in the construction of the pyramid. Therefore all materials were carried by people. It took over thirty years to complete.

Architectural Design

The pyramid covers 7.5 acres and is 215 feet high. It’s estimated that around three thousand workers worked thirty years to complete. There was no use of wheels in the pyramid’s construction. People carried 2.5 million tons of earth, stone and rubble. The pyramid was built with a low profile to prevent erosion. It was once covered with clay bricks and smooth, white polished lime plaster. Some of it was painted although most of it is no longer visible. The pyramid consists of four stepped platform and a temple.

Harmony with Nature

The pyramid is surrounded by mountains. In 1971 a large cave was found under the pyramid. It is believed that the cave is a natural lava tube. The geographical layout of Teotihuacán pyramid is a representation of the Teotihuacán view of the universe. Its placement is aligned to precisely 15.5º east of north, where the sun sets at the equinoxes.

Symbolism and Sacred Objects

The pyramid was built over caves and were thought to be symbolic. The caves are thought to be symbolic wombs of where gods and goddesses and the ancestors emerged from other realms. Arrowheads and human figurines have been discovered inside the pyramid and similar objects have been found inside the pyramid. The objects may have represented the human sacrifices that were made. Sacrifices were made to please the Gods. Human skeletal remains were found and remains of animals were found some of which were buried alive. Tombs with the remains of children were found at the four corners of the base of the pyramid.

How it is used by Worshippers

People were buried alive. Human sacrifices were made. Animals were thought to be buried alive as well. Tombs of children were found at the base of the pyramid. Rituals were also believed to be performed on the steps and on the top of the pyramid. The pyramid was also for astronomical observations. It is believed that when an addition was added to the pyramid a human sacrifice was made.

Sources

http://www.sacred-destinations.com/mexico/teotihuacan.htm

http://www.world-mysteries.com/mpl_7.htm

http://www.crystalinks.com/pyrsun_moon.html

Profile of a Sacred Space - Justin Coleman

Profile of a Sacred Space - Shinto Shrine

by Justin Coleman

For my profile of a sacred space, I chose to cover the Shinto Shrines found throughout Japan. There are thousands of these shrines all over Japan. The shrines are thought to be the home of “kami”. The “kami” gods represent objects found in nature such as trees, rivers, food and light. In addition to representing objects in nature, kami can also represent humans who have passed on. These are most often important or famous people in Japanese culture. Shinto shrines also act as places of worship for its many visitors. The Japanese visit these shrines to pay their respects to nature and to those who have passed on, to pray or to celebrate. In every shrine, there is a sacred object which represents the kami.

Shinto Shrines do not just have a interesting background and meaning, they also possess very unique and meaningful architecture. The style and structure of the shrines is derived from Buddhist origins. Often times these shrines are built on ‘complexes’ of sorts often containing multiple structures, each possessing its own function and purpose. A few of the most common structures found at a Shinto Shrine are the torii, or the gate marking the sacred area within, purification troughs, a stage, the main hall and the offering hall, the Ema, where visitors write down their wishes and prayers and Komainu which are statues which stand at either side of the shrines entrance.

As stated before, the torii signify both the entrance into the shrine and the entrance to a sacred space. They stand faily high and are constructed with large pieces of round wood. Frequently they are painted orange and black. Right near the torii is where you will find the purification trough. All visitors are expected to purify themselves by cleaning their hands and mouth before entering the shrine. Also near the torii are the Komainu which are typically statues of either dogs or lions. They simply act as guardians for the shrine. The stage of the shrine is reserved for buhaku dances or noh theater performances.

The shrines buildings and structures often contain very sharp angles, possess triangular shaping and use large round wood as the main structural devices. The buildings range from fairly simple structures to extremely elaborate buildings covered in decorations and extravagant architectual designs. Generally the main hall is the most extravagent building of the shrine. Almost all shrines possess some characteristics of traditional Japenese architectural styles from whichever period they were built.

Seeing as how these shrines are most commonly used as dwelling places for things such as rivers, trees, food and the sun, Shinto shrines are very in touch with nature. One of the main facets of the Shinto religion is being one with nature. From the moment one would step foot on one of these shrines, throughout the entire process and up until they left, you would likely feel very close to nature. This is what they believe in and it is how they structure the shrines. The more the shrine is one with nature, the closer they can be with nature.

http://www.sacred-destinations.com/sacred-sites/shinto-shrines.htm

http://www.japan-guide.com/e/e2059.html

http://en.wikipedia.org/wiki/Shinto_shrine

Profile of a Sacred Space - Kara Crouch

Profile of a Sacred Space – Notre Dame du Haut

General Description:

Swiss-French architect, Le Corbusier, completed the construction of Notre Dame du Haut in 1955 in Ronchamp, France. Notre Dame du Haut translates to “Chapel of Our Lady of the Height,” but it is often referred to simply as “The Chapel at Ronchamp.” The church is a pilgrimage chapel of Roman Catholic affiliation. It is the latest chapel constructed on this particular site after a long history of churches. The most recent was destroyed during World War II, but a large amount of its stone was used in the walls of Notre Dame du Haut.

Architectural Design:

Notre Dame du Haut gets its large sculptural appearance from the thick concrete walls and the large irregularly-shaped roof enclosing the rather small chapel. Le Corbusier’s sacred space is very modern in design. In fact, some controversy was created when it was built concerning whether the modern appearance took away from the spiritual aspect of the chapel. The geometric curves and irregular shapes create the unique design of the building. The walls, roof, and floors curve downward toward the altar, emphasizing its importance during service. The concrete roof, which is supported by columns within the thick walls, slopes downward toward the back of the chapel. The dark roof also contrasts with the white-washed stone walls. Le Corbusier incorporated unique, modern windows by “punching” small openings into the thick chapel walls. The asymmetric light from the openings creates soft, indirect light within the chapel as it reflects off the white walls. Modern stain-glass windows are also a feature of the chapel.

Harmony with Nature:

As mentioned above, natural light illuminating through the small hole-like windows in the walls creates a soft, spiritual atmosphere for worshippers in the chapel. The interior follows suit, with plain pews and white-washed walls providing a sense of purity. During rainfall, water rolls off the dark, curved roof that slopes down toward the back of the chapel onto slanted concrete structures; this forms a naturally mesmerizing waterfall. The curve of the hill is accentuated as the chapel floors and walls slope downward toward the altar.

Symbolism and Sacred Objects:

The ship-like shape of Notre Dame du Haut symbolizes several spiritual aspects such as Noah’s Ark, St. Peter’s ship, and the Christian belief that they are part of God’s ship, carrying followers to salvation. The chapel also incorporates Le Corbusier’s personal love of the sea. Le Corbusier also thrived in the idea of geometrics, particularly pentagons. On the great south door of the chapel, he emphasizes two powerful geometric forms of Pythagorean and Platonic tradition. There are few, if any, sacred objects associated with the chapel as it is designed to be free of distractions and to focus on spirituality.

How it is used by Worshippers:

Because it is a pilgrimage chapel, few worshippers usually frequent the space. However, on special occasions, such as feast days, thousands of worshippers gather at Notre Dame du Haut to celebrate and worship. With this in mind, Le Corbusier built an altar and pulpit outside upon the hill. A statue of the Virgin Mary rescued from the destruction of the previous chapel is specially incorporated into a wall of the chapel, and it can be turned inward to face the worshippers inside or outward as a display to the large crowds gathering upon the hill.

Sources:

http://everything2.com/title/Notre+Dame+du+Haut

http://www.absoluteastronomy.com/topics/Notre_Dame_du_Haut#encyclopedia

http://www.galinsky.com/buildings/ronchamp/

http://www.greatbuildings.com/buildings/Notre_Dame_du_Haut.html

Coombs, Robert. Mystical Themes in Le Corbusier’s Architecture in the Chapel Notre-Dame-

du-Haut at Ronchamp: The Ronchamp Riddle. New York: The Edwin Mellen Press,

2000. Print.

Profile of a Sacred Space - William DuBose

StoneHenge

by William DuBose

General Description:

The Stonehenge is located in Wiltshire in Europe. It has been the center of many debates as to the true purpose of the Stonehenge. It is widely believed that the henges were used as a burial ground dating all the way back to 2500 B.C. Today there is still no clear answer on who built the henge, but many believe that the majority was constructed by the druids. Archeologists continue to examine remains and the origins of the materials used but a definitive answer will most likely never be reached.

Architectural Design:

It is widely agreed upon that the Stonehenge was created in three phases. Stonehenge I w

as a 320’ diameter circle comprised of pillars. After the circle was laid out a ditch was dug in the center. Two stone were also placed inside the inner circle to act as an entrance. Also, 56 holes were dug around the perimeter which was thought to be holes for human remains. Stonehenge II was comprised of a semi-circle known as bluestones. According to many it is believed that these stones travelled great distances from nearby mountains to be assembled (3). Stonehenge III was the final stage of construction. It encompassed an outer ring around the original 2 stages. These outer stones were topped with additional stones to

act as a cap. Also, a horseshoe type configuration was constructed within the 2 outer circles. The stones were arranged in a fashion that the summer solstice would align with the heel stones and strike through the inner and outer circle onto the Altar stone (5).

Harmony with Nature:

Stonehenge coexists with nature. It is constructed from the materials from nearby land. The stones were hauled from great distances and assembled by the peoples from many time periods. The remains that were found in the 56 dug holes resemble a recycling and purification of a sort. Through the process of construction all the previous pieces were re-used. There were remains of the previous sections while the 2^nd and third stages were completed but the original was never deliberately destroyed. All of the materials used are used from stones and tend to blend in with the overall landscape.

Symbolism and Sacred Objects:

I believe that there is symbolism in the way the Stonehenge was constructed. The circular construction can symbolize the unification and a strong healing structure. There are no weak points on any section of a circle. Since this area is believed to be a healing spot or remembrance location then the bonds would be strong and un-weathered.

How it is used by Worshippers:

It is thought that the original purpose of the structure was to be a burial ground. Professor Mike Parker Pearson believes that “the area around Durrington Walls Henge was a place of the living, whilst Stonehenge was a domain of the dead. A journey along the Avon to reach Stonehenge was part of a ritual passage from life to death, to celebrate past ancestors and the recently deceased.”(1) On the other hand many disagree and say that the henge was a place of healing. Timothy Darvill also suggests that the henge was used for multiple purposes including ancestor worship. By the mass amounts of burials that occurred in the immediate area it is clear that this was a place to worship the ancestors. Whether this was a place that was visited by the living on a regular basis is still uncertain.

Sources:

1. - ^ a b M. Parker Pearson. Bronze Age Britain. 2005. p63-67. ISBN 0713488492
2. http://www.britannia.com/history/h7.html
3. http://www.sacred-destinations.com/england/stonehenge
4. http://www.sacredsites.com/europe/england/stonehenge.html
5. http://www.soulsofdistortion.nl/Summer%20Solstice%20Galactic%20Alignment.html