Universal Sacred Place

The Universal Sacred Place is a collaboration of all religions into a common area. One of the many concerns in doing so is the possible conflict between religions. By taking a proactive step towards eliminating these potential problems we can provide a welcoming place for all to worship. By understanding all religions through past architectural accomplishments and symbolism a more unifying space can be created while pleasing all.

The universal space will be as simplistic as possible. This will ensure that the environment is soothing and free of clutter. The building will be in the shape of a dome as this represents a strong, bonding structure. The exterior of the building will be constructed entirely of stained glass and steel frames. By utilizing the stained glass we can incorporate elements while also providing an unobstructed view to the outside world. The stained glass panels of the dome will be the only place that the symbols are incorporated. When the light shines through from all directions the various colors will fill the room and project their image onto the ground. Also, by incorporating the symbols into the structure it creates a greater feel of importance to all religions by knowing that if even one panel is removed the structure could collapse. In the center of the room will stand an altar. This will be utilized as the central sermon area and will have unobstructed views in all directions. The stand itself will have no symbols and will not lean towards any one religion. It will simply be a raised round platform on which to lead a body.By not incorporating symbols on the actual pulpit we create a central non-discriminatory space. “Religious Symbols”, attached, provides examples of the symbolism that will be placed within the stained glass.

The lines on the building will also remain simplistic and inviting in nature. We will leave the top of the dome above the altar clear of stained glass. Doing so will allow the most amount of light to enter the space. The floors within the space will be of an earth-tone tile for a natural “one-with-the-earth” feel. The space surrounding the structure will also remain as neutral as possible. A sidewalk made of stone will lead up to the entrance with large oak doors.

To conclude, providing a neutral environment while still incorporating some religious symbols can create a universal place for all to worship. While providing an immense amount of symbols does sound pleasing, we felt as though overwhelming the space with symbolism would make the space become uninviting. Incorporating religious symbols into a common area is a daunting task given the sensitivity of religion.

Religious Symbols

Christianity:

-The fish, with its unblinking eyes, is ever-watchful and represents the miracles Jesus performed, such as the loaves of bread and fish he fed to multitudes of people.

-The dove is a symbol of the Holy Ghost. It is used also to represent the Lord’s Baptism, the Pentecost, and hope and life as seen with Noah’s Ark.

-The palm represents victory and martyrdom. They are used on Palm Sunday, then they are burned and their ashes are used for the next year’s Ash Wednesday to represent death and mortality.

-The three nails symbolize the Crucifixion of Jesus Christ. Two nails were used for his hands and one through his feet.

-The Graded Cross (also known as the Calvary cross) is a cross sitting on three steps which represent the three virtues: faith, hope, and charity.

Source: http://www.fisheaters.com/symbols.html

Buddhism:

-The eight-spoked dharma wheel represents Buddha because he is known as the wheel turner, the one who sets a new cycle of teachings in motion, thereby changing the course of destiny.

-The lion, one of the most powerful Buddhist symbols, symbolizes regality, strength, and power. Buddha’s teachings were often referred to as the “Lion’s Roar” due to their strength and meaning.

-The footprints of Buddha are often present as a reminder of the Enlightened One’s physical presence on Earth.

-Stupas are representations of Buddha’s enlightened mind. They also symbolize the five elements: earth, water, fire, air, and space.

Source: http://www.viewonbuddhism.org/general_symbols_buddhism.html

Hinduism:

-The Om (Aum) is a sacred sound when spoken that represents the greatest of all mantras. There are three sounds in the syllable (a-u-m), and the symbol’s threefold design represents the three worlds, the three main Hindu gods, and the three Vedic scriptures.

-The bindi is a dot traditionally worn on women’s heads. It symbolizes female energy and often represents protection of the husband and wife. The bindi is also a way of symbolizing the third eye between the eyebrows, an area that is focused on during meditation.

-The lotus flower represents beauty and non-attachment in Hinduism. The flower is rooted in the mud, but floats on the water. This symbolizes how Hindus should live in the world, but they should remain unattached to their surroundings.

-The yantra (Sri Yantra) represents the universe. Hindus use the geometrical design during worship and meditation. It symbolizes cosmogenic development – from the absolute in the center, to the material things of the world on the outside.

Source: http://www.religionfacts.com/hinduism/symbols.htm

Judaism:

-One of the oldest Jewish symbols is the menorah, a 7-branched candle holder used in the Temple. A 9-branched menorah is used by Jews during the celebration of Hanukah to represent the miracle that a day’s worth of oil lasted for eight days.

-The Star of David is a relatively new Jewish symbol, but it is the most commonly used today. Its meaning is a topic of some controversy. There is no specific meaning behind the Star of David. Some say the upward triangle points to God, and the downward triangle points to the earth; others say it is a symbol of good luck. Nevertheless, it is important, as it is on Israel’s flag.

-The mezuzah is traditionally hung on doorposts of Jewish homes. It is a constant reminder of God’s presence and His commandments. The mezuzah is a case that holds a scroll with God’s words written on it. The scroll must be handwritten and placed in the case to fulfill the commandment.

Source: http://www.mechon-mamre.org/jewfaq/signs.htm

Islam:

-While there are no specific Islamic symbols, the star and crescent symbol has become strongly associated with Islam as it has spread throughout countries like Turkey and Pakistan. However, it is not a traditional Muslim symbol.

-Certain Arabic words and symbols may be used as important symbols to visually represent Islam, such as the symbol for “Allah” shown here.

Source: http://www.religionfacts.com/islam/symbols.htm

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

Art Museum Visit - Kara Crouch

When visiting the Modern Art Museum of Fort Worth, The Ark by Melissa Miller impressively caught my attention. Miller painted this piece in 1986 using oils on linen. It is a large painting, vividly filling two canvases. Though the pictures included are blurry, I will evaluate such features of the work as line, shape, space, lighting, and color which are best appreciated when seen in person. I will also consider the basic art principles of balance, rhythm, and emphasis while recognizing the technique and details of the painting itself.
Many lines, both actual and implied, are utilized in The Ark. The clouds and the horizon line create a fundamental horizontal line throughout the work, while the vertical lines of the oncoming storm create balance in the background. The positions of the animals imply several lines such as the standing horse and lion facing the left of the painting, directing the viewers’ attention to the approaching storm. The lines created by the flying birds draws attention toward the dark, cloudy sky. The combination of vertical, horizontal, and diagonal lines creates a sense of chaos, which the artist also expresses through the animals faces and body language.
Miller painted organic shapes to represent the animals in their true life form. With the varying shapes and sizes of the different species, again a feeling of chaos is present; however a sense of unity is also created because all of these different animals are together during this critical time. For the most part the animals are presented in the foreground, with a few animals, such as the elephants, in the middle ground. Miller likely placed the larger elephants farther back as to not overpower the painting with their size. Likewise, she painted the smaller lizards, birds, and turtles in the foreground to emphasize their presence among the larger animals.
The Ark comprises very little negative space. The frantic animals fill the foreground, while the brewing storm makes up the dreary background. Depth of the painting is created by the layering of the animals and particularly the owls in the sky flying toward the audience. The blank sandy areas in the foreground balance the busy space filled by the animals, while a few breaks in the clouds ease the looming appearance of the storm.
The source of light in Miller’s painting is implied. The viewer does not actually see the sun because the dark clouds are blocking it; the breaks in the clouds are a light orange color, implying the presence of the sun. The natural sunlight is also breaking through the falling rain on the left side of the painting. Shadows are created by indistinguishable shapes of dark gray on the ground. The shadows are muddled because the animals are so close together.
The dominant colors in the painting are earthy greens, browns and grays, but white, blue and orange are also included. The colors are warm, dark, and dreary to create a sense of fear and danger approaching the animals. Miller utilizes complementary colors to create the different hues of orange-browns and gray-greens because when the opposite colors are mixed, dull colors are created. Atmospheric perspective is recognizable in the bluish-gray of the background, while the foreground colors of the animals are much brighter and prominent. However, the overall painting is quite dark, with little balance provided by the white birds and lighter-colored animals.
It is easy to recognize balance in this painting because a central line separates the two panels. The light of the left panel is created by the rainfall and the white furs and feathers, while the light of the right panel is balanced by the white flying birds, and the upright, lighter-colored horse and lion. The left and right sides are also balanced as the clouds evenly carry across the entire span of the painting.
The focal point of The Ark is the standing horse. It stands out as the largest animal in the painting, and it is lightly colored compared to the dark clouds and other animals. It is an important focal point because it points the viewers’ attention to the rainfall coming toward the animals.
The rhythm of the clouds along the skyline and the falling rain below them creates unity across the painting, while depicting the intense danger and fear of the situation. The pairs of animals (repetition) also represent unity and strength among the animals during their crisis.
Melissa Miller’s The Ark is a two-dimensional painting using oils on linen, which combined makes for a very unforgiving canvas. I would assume the linen soaks up the oily paint rather quickly, making it hard for Miller to correct any mistakes. The lines and colors create distinct differences in the objects, but the texture creates the same flat, cloth-like appearance throughout. From further away the painting looks smooth, but closer up, the texture of the painted cloth canvas is visible. Being painted just 23 years ago, I imagine The Ark looks very much the same today as it did in 1986.