Universal Sacred Space - Picasso Group

Our group designed a Universal Scared Space that is welcoming to all types of people. The Encyclopedia of Sacred Spaces assignment help each one of us become familiar with different sacred spaces of different religions, from different parts of the world, and at different periods in history. We tried to compose the sacred space of features or ideas present in the construction of each sacred space.

The location of our sacred space was chosen to be at a high elevation, like near the top of a mountain. This was chosen because of the relation by most religions to a higher entity and their association with the heavens above us. Some structures even glorified the element of elevation, such as the Ziggurat of Ur, which was constructed to look similar to a mountain. As well as being high up we also want the space to be near a water source such as a waterfall. Water is symbolic of uniting all men on earth. Everyone is dependent on water and throughout history civilizations have been constructed near water because of its importance in survival.

The material used to construct the space will be primarily stone. Stone has been used in ancient structures, such as the Great Pyramid, the Parthenon, and Stonehenge. Today stone is still regarded as a luxurious building element, like granite and marble. With stone, no ornamentation is needed on the walls or ceiling. In this day in age religious symbols are often regarded as offensive to other cultures with other beliefs. To respect all beliefs we felt it necessary to avoid religious symbols and keep all references general and subtle.

The architectural style of our space will be a cylindrical wall structure with a dome ceiling, similar to the Pantheon. A cylindrical wall is round or never ending, such as the circle is used in Islamic and Buddhist cultures. Windows will also be present along the walls of the space so the circle allows no end of the view that corners would. The dome ceiling allows the highest point, the apex of the semi sphere, to be located at the exact center of the structure. Again this alludes to the rest of space revolving around a higher entity. The layout of the space will be a central commutative area with private worship rooms located around the perimeter. The center area allows people of different cultures to interact and become familiar with one another’s beliefs and the rooms offer people private time among people with the same system of belief.

The interior of the space will be supported by arches similar to the Chartres Cathedral and a staple of the Gothic architecture. The arches are supported by pillars which surround the central area. Pillars are used in Greek architecture such as the Parthenon and give the element of height to the interior. At the center of the dome ceiling an open skylight will help to bring in the sounds and elements of nature, like the outdoor setting of the Shrine to Vairocana Buddha. Many religions associate their beliefs with nature, like the Shinto worshippers and the Egyptians. The walls separating the interior from the exterior rooms are constructed with semi-opaque windows to give an Eastern Asian feel to the space. These also help to separate the individual spaces without totally isolating them.

We feel that our sacred space is welcoming to people of all cultures and all beliefs. The atmosphere is peaceful and inviting for people to come and network with people they may not encounter in everyday life. We feel the subtle symbolisms tie in multiple religions and places of worship and make this truly a sacred space for all.

The Parthenon

GENERAL DESCRIPTION
The Parthenon is a temple for the Greek goddess Athena, the patron of Athens and goddess of war and wisdom, and is located on the Acropolis that overlooks the city of Athens, Greece. Today it is seen as a symbol for ancient Greece and is currently being restored and partially rebuilt.
The Parthenon has survived many historic events and undergone vast changes in the way it has been utilized. It originally replaced an older temple at the same location known as the Pre-Parthenon or Older Parthenon which was destroyed in 480 BC by a Persian invasion. The Parthenon was used as a treasury for the Athenian Empire, a Christian church in the 6th century AD, and a mosque in 1460. A large explosion caused by ammunition inside the Parthenon being ignited during a Venetian bombardment caused widespread damage to the building in 1687.

ARCHITECTURAL DESIGN
The architects for the Parthenon were Iktinos and Kallikrates and the entire project was under the supervision of the sculptor Phidias. The Parthenon was built architecturally as a temple and some consider it to be the most perfect Doric temple ever built.

SOURCES
http://en.wikipedia.org/wiki/Parthenon

Basilica of San Vitale

Basilica of San Vitale
By Vicki Galati


The Basilica of San Vitale in Ravenna, Italy is one of the most important examples of Byzantine art and architecture in Europe. It is a Byzantine church that is an expression of early Christian art and architecture. Archbishop Maximian consecrated the church in 547 AD. Its shape is octagonal with a dome and a cylindrical bell tower. The interior is decorated with marble and mosaics.
The structure, an octagonal plan, combines Roman and Byzantine elements such as the dome, doorway shapes and stepped towers found in Roman structures as compared to the polygonal apse, capital and narrow bricks of Byzantine structures. The apse is flanked by two chapels, typical for Byzantine architecture.
The church was started by Bishop Ecclesius in 527 and completed by the Bishop of Ravenna in 548. The architect, considered to be among the best architects of this period, is unknown.
The Basilica of San Vitale is most famous for the largest and best preserved group of Byzantine mosaics outside of Constantinople. As the only major church from the period of Emperor Justinian to survive intact to the present day and the only structure reflecting the design of the Byzantine Imperial Palace Audience Chamber still in existence, the church is the most important piece of Byzantine history.
The church was supposedly erected on the site of the martyrdom of St. Vitalis. There is some confusion as to whether this is the St. Vitalis of Milan, or St. Vitale.
The construction of the church was sponsored by a Greek banker, Iulianus Argentarius although the real sponsor may have been the emperor who used these types of construction projects to speedily incorporate new territories into the empire.
The Church of San Vitale was used as a model by Charlemagne for his Palatine Chapel and was used by Filippo Brunelleschi to design the dome of the Duomo of Florence.
The great triumphal arch is decorated with 15 mosaic medallions, depicting Jesus Christ, the twelve Apostles and Saint Gervasius and Saint Protasius, the sons of Saint Vitale.
The central section is surrounded by two ambulatories, the upper one reserved for married women. A series of mosaics above the triforia (a shallow gallery of arches within the thickness of inner walls), depict the stories of Abraham, Isaac, Moses, the Burning Bush, Jeremiah and Isaiah as well as the story of Cain and Abel. A pair of angels, holding a medallion with a cross, crowns each lunette. On the side walls the corners have mosaics of the Four Evangelists dressed in white. The evangelists are symbolized by the angel, lion, bull and eagle.
A cross-ribbed vault in the area reserved for clergy (known as the presbytery) is decorated with mosaics of leaves, fruit and flowers, moving toward a crown encircling the Lamb of God. The crown is supported by four angels and every surface is covered with flowers, stars, birds and animals. On both sides, are representations of the cities of Jerusalem and Bethlehem that symbolize the human race. Jerusalem represents the Jews while Bethlehem represents the Gentiles. All these mosaics are reflective of the Hellenistic-Roman tradition in that rich colors and a certain perspective was used and the landscapes, plants and birds are vividly depicted. They were finished when Ravenna was still under Gothic rule.
In the apse (a polygonal section of the sanctuary) are two famous mosaic panels. On the left is a mosaic of the Emperor Justinian, dressed in purple with a golden halo, standing next to court officials and clergy. The halo around his head gives him the same aspect as Christ in the dome of the apse. Justinian stands in the middle, emphasizing that he is the leader of both the church and state. The figures are placed in a V shape with Justinian in the front and in the middle to show his importance. On the right side is Empress Theodora, also with a golden halo, crown and jewels, and several court ladies. She is almost depicted as a goddess. “These panels are almost the only surviving examples of Byzantine secular mosaic art, and offer a glimpse into the glory, splendor and pomp of the Byzantine world.” (Wikipedia, the Free Encyclopedia, online website).

I read several online articles regarding the Basilica of San Vitale and discovered that many feel that the church is peaceful and quite beautiful. It is surrounded by many other buildings of the same architectural type and is a popular tourist attraction. Even today many people find their way to the church to pray.

Jonathan Freeman

The Great Pyramid of Giza – Picasso Group

General Description

The Great Pyramid of the ancient Egyptians is located in what is known as the Giza Necropolis, which consists of two other pyramids as well. The pyramid was created during the reign of Pharaoh Khufu. The pyramid was built to serve as a tomb for both him and his wife. It is the only surviving wonder of the seven wonders of the ancient world. Archeologists estimate the construction of the great pyramid took approximately 20 years to complete and was finished around 2560 B.C.

Architectural Design

Although the Great Pyramid appears to be a fairly simple design, however, the shear size of it makes it so impressive. The pyramid is about 140 meters tall with each side of the base measuring about 230 meters. The pyramid is constructed of large limestone blocks, some of which weigh in excess of 70 tons. It is debated whether the stones were brought from a nearby quarry or constructed on-site out of a concrete type material. Originally a white limestone casing covered the stepped surface of the pyramid giving it a smooth surface. Since then the casing has broken off and surrounds the pyramids in piles. The pyramid contains passageways which lead to three chambers: one for the king, one for the queen, and one which is incomplete.

Harmony with Nature

The Great Pyramid has some very unique relations with nature which give some complexity to the structure. Its four sides face the cardinal directions, north, south, east, and west, almost perfectly. Built in a time where transportation of materials over large distances was almost nonexistent the pyramids hold a unique bond with the surroundings. The pharaoh’s vizier, architect of the pyramid, had to create a design which utilized material which could be obtained nearby. The Egyptians used an art form known as Dwat when constructing the three pyramids of the Giza Necropolis, where structures on earth are built to reflect images of astronomy. The three pyramids are related to one another so that they are almost exactly proportional as the three stars are of Orion’s Belt.

Symbolism & Sacred Objects

The Great Pyramid is built to serve both as a tomb and a monument of the Pharaoh. It stands as a focal point of the surrounding civilization for many generations to come. A pharaoh took pride in the pyramid constructed under his rule because in some since it was a testament to their accomplishments. Although hieroglyphics are commonly used by the Egyptians to tell stories of the past the Great Pyramid actually contains none.

How it is used by Worshippers

The pyramids of the Egyptians don’t serve so much as a place to worship as it does a portal to the afterlife. The chambers created for the pharaoh and his queen housed their mummified bodies as well as many objects of value to be used in the afterlife. The mummification process used to prepare bodies for burial involved removal of all the internal organs and rapping the body in linen. The bodies were then placed inside sarcophagus, a type of wooden casket, and placed in the burial chamber. The ironic part of the kings tomb is that the sarcophagus is too small to contain a human body. Two small vent shafts were found in both the king’s and queen’s chambers which historians now believe served as pathways for the soul to escape to the afterlife. The Egyptians believed there were five parts to a human soul: the Ren, Ba, Ka, Sheut, and Ib. Unfortunately the pyramids not only served as a beacon to the future generations but also to grave robbers.

Sources

“The Great Pyramid.” Wikipedia. April 4, 2008 http://www.wikipedia.com/gpstats.html.

“Great Pyramid Statistics.” Crystalinks. April 4, 2008 .

Shinto Shrine

General Description
Shinto is a Japanese term meaning “the way of the kami”. A kami is a Japanese deity. These deities are worshiped in Shinto Shrines. Originally, Shinto worshipers used all natural areas for worshiping such as rivers, streams, caves and waterfalls. This is because it is believed that these deities live in natural things such as rocks, trees etcetera. Later on, the worship included not only deities but also ancient relatives. The addition of the worship of ancient ancestors later led to the making of Shinto Shine Structures where the kami live instead of worshiping them outdoors. These Shrines began as single Structure houses made entirely of tree products. They now often consist of groups of buildings in a complex.
Architectural Design
Shinto Shrines are usually made entirely out of natural materials. The Main Shrine at Ise, shown in the picture is considered the most holy of the shrines. “It is rebuilt every twenty years to exactly the same specifications” (Exploring Art). No nails are used. Wooden pegs are used and each piece of lumber from the same tree is placed next to each other. The Shrine is not painted in order to preserve the shrines natural appearance. A Torii is placed at the entrance of each shrine. This is a wooden gate entrance that does not have a door. It has become a common “symbol representing Shinto practices and a popular icon for Japan” (Berkeley). Also, in all Shinto Shrines, some sort of water bath or fountain is placed for purification purposes. It is used for rinsing hands and mouths before going near or entering the shrine.
Harmony with Nature
The Shinto religion connects strongly the bond between man and nature. This is why originally before the shrines, the kami was worshiped outside in very special natural areas as mentioned earlier. Other evidence of harmony with nature is after entering through the Torii of the shrine, all shrines have a pathway called a sando that connects the entrance to the front of the structure. The point of it is to prepare the worshiper as he walks along. On the way to the structure, often there are streams to cross using a “sacred bridge to cross called a shinkyo (Berkeley).
Symbolism and Sacred Objects
In the shrines, the kami would be symbolized using objects. Later, the Buddhist religion began to influence some of the Shinto religion and occasionally, a kami is symbolized by actual statues. The Shinto religion also influenced the Buddhist religion giving much importance to nature, (Berkeley). A mirror is often placed inside the structure to symbolize the Kami entering it.
How It Is Used By Worshipers
Special rituals are done inside the Shrine to invite the kami in. Also, offerings of food are given to the kami. A communion meal also takes place where humans eat at the same meal as the kami to make a union between the two. People also perform dances to create a union between them and the kami.
Sources
http://orias.berkele.edu/visuals/japan_visuals/shintoB.HTM

Exploring Art, A Global, Thematic Approach. Second Edition. Margaret Lazzari, Dona Schlesier; 2005.

Notre Dame du Haut

Notre Dame du Haut

General Description
Located near Ronchamp, France, Notre-Dame-du- Haut sits atop a hill that has been a pilgrimage site since the thirteenth century. Though the parish population is small, thousands of visitors come every year on important feast days. The original structure was destroyed by German army bombs in the fall of 1944. Le Corbusier started on the rebuilding project in 1950. The new building was to have a few difficult requirements: able to serve a parish of about 200, but also capable of dealing with the huge crowds on feast days.
Architectural Design
The structure is made mostly of concrete and is comparatively small. The interior walls are white and the ceiling grey. The floor of the chapel follows the natural slope of the hill down towards the altar. The interior of Notre-Dame-du- Haut has an open use of light. The main source of interior light is the south wall, which contains many windows of different sizes. These windows direct rays of light on the altar during Mass. Light is also constantly bathing the Virgin Mary in its alcove. Most dramatic is the tiny slit of light between the top of the wall and the roof, which gives a ‘halo’ effect.
Harmony with Nature
Whereas most churches have the task of shaping out a sacred space in the midst of the hectic, irreverent world, the hill at Ronchamp is a sacred location already outlined by topography. Because the structure is atop a hill, the religious journey starts when one begins the climb to the church.
Symbolism and Sacred Objects
Notre-Dame-du-Haut is not a traditional church. Instead of portraits of biblical stories, the church uses more abstract symbols of religion. The way the light from the windows combines with the color from the glass it is as though one can feel the Holy Spirit. The shapes of the building are also non-traditional, but do come from characteristics of Christianity.
How it is used by Worshippers
Usually there are few people worshipping, but because it is a pilgrimage chapel huge crowds will show up on feast days. In order to accommodate these large crowds, Le Corbusier also built an outside altar and pulpit, so the people can sit or stand on a vast field on the top of the hill. From the ruins of the chapel destroyed during WWII, a statue of the Virgin was rescued. It is now enclosed in a special glass case in the wall, and it can be turned to face inward when the congregation is inside, or to face outward toward the huge crowds.

Sources
http://en.wikipedia.org/wiki/Notre_Dame_du_Haut
http://www.arch.mcgill.ca/prof/mellin/arch671/winter2000/mchan/precedents/corbu.html

Paragone Group Discussion

In our group discussion we had many points that agreed with what Leonardo's Paragone covered but also points that refute certain statements. Since all of us recently spent a week as either a sculptor or a painter, I think our opinions may have been slighty biased. It appears though, that Leonardo may have been slightly biased in his opinions, as if considering some points of sculpting superior is a direct criticism of his efforts as an artist.

The Paragone points out key differences between painting and sculpting, such as the physical work involved in making the piece of art. As Leonardo describes it, a sculptor sweats in his labor, surrounded by noise while the artist sits to paint while music is playing in the background. There is some truth to this but the tone appears to disgrace sculpting as merely a physical work while painting is a much more noble form of art. Our general consensus was, while sculpting may be a more physically demanding art form, both painting and sculpting are reputable with their own specific qualities and difficulties. It may in fact be the difficulties in each respective art form that construct its points of admiration by the audience.

A sculpture is physically demanding and a meticulous process, removing just enough material to create the right detail. It is, however, this detail which makes sculptures attractive and respected as an art. Sculpting , in general, must be able to be viewed from any angle. A painting also has its difficulties, using colors, lines, and other features effectively to potray the intended mood. Without these qualities a painting is just a picture not a piece of art. It is these qualities which give paintings their mood and touch the audience. Although none of us are professional artists each of us can sympathize in our particular struggles during our week as an artist.

Although we came to no distinct consensus as to which art form has more merit than the other we understand how the Paragone is effective in raising the discussion. It makes each one of us address the strong points of each form of art and realize what in fact makes them art. It also helps us to share our difficulties in making our piece of art.