Twentieth-century art historians have primarily regarded the interior of medieval churches aesthetically, in part as a result of the impression these churches left after the turmoil of the French Revolution and their subsequent rebuilding and reconstruction in the spirit of bourgeois enlightenment. The choir screens had disappeared, and reformed cathedral chapters and monastic communities installed themselves as best they could in the remaining space, but the real centerpieces of medieval piety could no longer shape the interior of these churches. On (...) Paris's Place de Grève in 1793 the bones of St. Geneviève were publicly burned and her golden shrine melted down; in similar ways the remaining churches of France—and, in the wake of the Napoleonic occupation, other countries—lost their saints' relics . What remained of the medieval saints' bodies the church, in the aftermath of the Enlightenment, no longer dared to display. (shrink)

In the mid-twentieth century American architectural journals, including Architectural Forum, Architectural Record, and Progressive Architecture, routinely ran features on the state of contemporary church architecture in the United States. Rapid suburban expansion and the revival of religious life in the post-Depression, postwar era generated tremendous amounts of construction, with a great deal of work available for architects. This article examines the concerns and hopes of modernist editors in the 1940s–1960s, as they sought to stabilize a “direction” for (...) church architecture. Specifically, it examines the role of the architectural press as the self-established gatekeepers for acceptable church design, and their relationship with theologians, liturgists, and building commissions within the Catholic Church. Questions of authority and expertise lay behind the stark assertions commonplace in these discussions. Editors, generally not themselves Catholic, used their professional positions to weigh in on hot debates within the Catholic Church over the purpose of a church building, the relationship of the Church to modernity, and the appropriateness of new materials and engineering techniques. (shrink)

William Whewell’s work on historical science has received some attention from historians and philosophers of science. Whewell’s own work on the history of German Gothic church architecture has been touched on within the context of the history of architecture. To a large extent these discussions have been conducted separately. I argue that Whewell intended his work on Gothic architecture as an attempt to (help) found a science of historical architecture, as an exemplar of historical science. (...) I proceed by analyzing the key features of Whewell’s philosophy of historical science. I then show how his architectural history exemplifies this philosophy. Finally, I show how Whewell’s philosophy of historical science matches some developments in a science (biological systematics) that, in the mid-to latenineteenth century, came to be reinterpreted as a historical science. I comment briefly on Whewell as a potential influence on nineteenth century biology and in particular on Darwin. (shrink)

Dialectic IV convenes contributions with new takes on the long held proposition that architects are providers of design services. They service everyone from the status quo all the way to the subaltern. We know well how architects have historically fashioned themselves to be able to procure the most valued building commissions a people have to offer. There are temples, churches, and shrines, palaces and private villas, and surely monuments, state institutions, and corporate headquarters. But how have the members of the (...) same profession managed to fashion themselves as the custodians of the public good? (shrink)

Book reviewed in this article: In Search of History: Historiography in the Ancient World and the Origins of Biblical History. By John Van Seters. The Hidden God: The Hiding of the Face of God in the Old Testament. By Samuel E. Balentine. Theodicy in the Old Testament. Edited by James L. Crenshaw. Ce Dieu censé aimer la Souffrance. By François Varone. Evil and Evolution, A Theodicy. By Richard W. Kropf. ‘Poet and Peasant’ and ‘Through Peasant Eyes’: A Literary‐Cultural Approach to (...) the Parable in Luke. By Kenneth Bailey. The Biblical Foundations for Mission. By Donald Senior and Carroll Stuhlmueller. New Testament Foundations of Ministry. By Colin Kruse. Church, Ministry and Unity. By James E. Griffiss. Theology of Ministry. By Thomas Franklin O'Meara. Yesterday and Today: A Study of Continuities in Christology. By Colin E. Gunton. I believe in the Holy Spirit. By Yves Congar. Between Jesus and Paul. By Martin Hengel. From Nicaea to Chalcedon: A Guide to the Literature and its Background. By Frances Young. Alan of Lille: The Frontiers of Theology in the Later Twelfth Century. By G.R. Evans. Mystic and Pilgrim: The Book and the World of Margery Kempe. By Clarissa W. Atkinson. Church, Politics and Society: Scotland 1408–1929. Edited by N. Macdougall. Renaissance and Reform: The Italian Contribution. Collected Essays, Volume II. By Frances A. Yates. Seven‐Headed Luther: Essays in Commemoration of a Quincentury, 1483–1983. Edited by Peter Newman Brooks. Ökumenische Erschliessung Martin Luthers. Edited by Peter Manns and Harding Meyer. Luther's Ecumenical Significance, An Interconfessional Consultation. Edited by Peter Manns and Harding Meyer, in collaboration with Carter Lindberg and Harry McSorley. States of Mind: A Study of Anglo‐Irish Conflict 1780 to 1980. By Oliver MacDonagh. The Parish Clergy in Nineteenth‐Century Russia: Crisis, Reform, Counter Reform. By Gregory L. Freeze. Pusey Rediscovered. Edited by Perry Butler. Between Two Worlds: George Tyrrell's Relationship to the Thought of Matthew Arnold. By Nicholas Sagovsky. The Concept of Glaubenslehre. By Walter E. Wyman, Jr. The Existence and Nature of God. Edited by Alfred J. Freddoso. Faith and Reason. By Anthony Kenny. Logic and The Nature of God. By Stephen T. Davis. Personal Responsibility and Christian Morality. By Josef Fuchs. Morality and Conflict. By Stuart Hampshire. Realism and Imagination in Ethics. By Sabina Lovibond. Intentionality. By John R. Searle. Philosophical Papers, I: Practical Reason. By G.H. von Wright. Philosophical Papers, II: Philosophical Logic. By G.H. von Wright. A Model of Making: Literary Criticism and its Theology. By Ruth Etchells. The Return of the Goddess: Femininity, Aggression and the Modern Grail Quest. By Edward Whitmont. The Power of the Poor in History. By Gustavo Gutierrez, translated by Robert R. Barr. The God of the Xhosa. By Janet Hodgson. Our Hymn Tunes: Their Choice and Performance. By Donald Webster. The Almighty Wall: The Architecture of Henry Vaughan. By William Morgan. An Introduction to Plato's Laws. By R.E. Stalley. Plato's Late Ontology: A Riddle Resolved. By Kenneth M. Sayre. Plato's ‘Parmenides’: Translation and Analysis. By R.E. Allen. Politics in the Ancient World. By M.I. Finley. (shrink)

This paper presents how the classical architectural forms – Greek-roman forms – are preserved in early Christian churches built in the Palestinian area between the fourth and the sixth centuries AD. We follow the concept that architecture defines a non-verbal communication form, a language possible to be decoded. Will be discussed questions regarding long-term preservation or change of this buildings in a historical structure evaluating their formal and ideological aspects.

Architecture is a content area in art education that is not much investigated by art educators. Even less addressed is Romanesque architectural style. Based on direct experiences of visiting hundreds of Romanesque churches in France, Italy, and Spain; many years of teaching design courses; and subsequent research and visual analyses of photos, the author discusses the aesthetic merits of Romanesque architecture through design principles: unity by repetition, variety and contrast, proportion, hierarchical forms, and articulation. Unity, variety, and contrast (...) are found in many modern design books, proportion, less so, but it was very important in the medieval period. Hierarchical forms and articulation are uniquely Romanesque. The author demonstrates that Romanesque builders possessed a great sense of design and creativity. (shrink)

Architecture has often served a variety of purposes in addition to that of mere functionality. Different categories of meanings can be distinguished. In this essay some aspects of political meaning in medieval architecture will be discussed. The architecture of churches commissioned for instance by bishops, archbishops, provosts or other high-ranking clerical patrons was often used to express views about the status and position of both patron and institution. Rivalling patrons could copy those parts of each other's churches (...) that were considered essential and characteristic. Buildings were thus often symbols, not only of the Church and of Heavenly Jerusalem, but also of an idealized history and an aspired status and position. (shrink)

Although nothing from the Byzantine church of St. Spyridon is preserved in situ today, the primary sources and surviving photographs of the structure indicate that it was built in the simple domed octagon design. In this article, some new architectural fragments which possibly belonged to the church are presented and evaluated, and new interpretations of the earlier restitution hypotheses are suggested. The presence of a domed octagon in Selymbria provides indirect evidence for the existence of the plan scheme (...) in Constantinople in the Middle Byzantine period and implies a reciprocal relationship between regional and Constantinopolitan architectural styles. (shrink)

O papel da Igreja foi fundamental no processo de constituição do território no Novo Mundo. Neste artigo, explora-se a forma como se implementaram no Novo Reino de Granada (hoje Colômbia) as “Instruções para a fábrica e decoração das igrejas” de Carlos Borromeo de 1577, documento considerado como a consolidação arquitetônica do Concilio de Trento. A análise parte da comparação dos principais preceitos contidos nas Instruções com os contratos de fabricação das igrejas celebrados pelo Visitador Luis Henríquez entre os anos 1599 (...) e 1605 no território da Província de Tunja. Dentro da empreitada religiosa e de unificação da Coroa espanhola no território americano, a doutrina dos indígenas americanos tornou-se um projeto crucial e, portanto, a fabricação das igrejas e a concentração da população. A igreja era o ponto de partida para a conformação de novos assentamentos para indígenas sob a responsabilidade de um padre, chamados “povoados de índios”. A força do projeto secular espanhol deixou suas marcas na forma destas igrejas de doutrina construídas e que, 400 anos depois, permitem realizar uma reflexão sobre a imposição do simbolismo e da hierarquia eclesiástica em Colômbia. Palavras-chave: Arquitetura religiosa. Novo Reino de Granada. Carlos Borromeo. Igrejas de doutrina.In the territorial constitution of the New World the role of the Church was crucial. In this article, we investigate the implementation in the new kingdom of Granada (the current Colombia) the “Instructions to the factory and decoration churches” by Charles Boromeo, 1577, a document considered as architectural consolidation of the Council of Trent. This analysis is grounded in the comparison between the Borromeo's Instructions and the numerous contracts assigned by Luis Henriquez in the period of 1559 and 1605, in the territory of the province of Tunja. The indoctrination process of the indigenous American people became the main project in the religious enterprise and unification of Spanish Crown through the construction of sturdy churches and concentration of this population around them. The church was the start point for urban conformation of new indigenous settlements named “povoados de índios”, upon the responsibility of a priest. The force of Spain’s secular project left its mark in the shape of such “churches of doctrine” constructed across the territory in the XVII century, which allow today a reflection about the symbolic imposition of a new ecclesial hierarchy in Colombia during this period. Keywords : Religious architecture. New Kingdom of Granada. Charles Borromeo. Churches of Doctrine. (shrink)

The basilica of the Faculty of Medicine plot at Knossos in Crete (beginning of 5th c.) and that of Antigoneia in Albania (end of 6th - beginning of 7th c.) constitute up to now two isolated examples in Eastern Illyricum, of churches whose sanctuary is in the form of a triconch added at the east of the naves. The study of these two edifices throws light on their differences and similarities, both architectural and functional; on the other hand a comparison (...) with other churches in the Mediterranean basin shows that they belong to a particular type, whose origin may be found in certain funerary monuments at Rome and the regions under its influence. We consider the choice of this particular type of sanctuary, the place above all where the mystery of the Eucharist is performed simulating the Last Supper celebrated in the "stage piece" at Jerusalem. If the trefoil plan is derived from the funerary edifices where funerary banquets and repasts in honour of the martyrs were performed, it is equally related to the triconch triclinia of the wealthy residences found particularly in the western part of the Roman Empire. Lastly, the mosaic paving in the Antigoneia church, whose decoration reflects a theological preoccupation that also occurs in the murals and the pavements of other trefoil sanctuaries, suggests that the lateral apses probably had functions similar to those described by Saint Paulin of Nola. (shrink)

The basilica of Haghia Sophia in Nicaea is the result of multiple phases of development. A number of scholars have dealt with the architecture of the monument and the history of its construction: Brounoff published a rather outdated description and analysis of the building in 1925, Schneider gave two accounts of the excavations he carried out in the church in 1935, Sabine Möllers studied the monument thoroughly in her doctorate thesis in 1994 and Peschlow produced a complete outline (...) of the relevant scientific knowledge in 2001, in the context of a wider presentation of the churches of Nicaea. Based on the information presented in the latter, the original edifice, episcopal church of the city and venue of the seventh Ecumenical Council, was possibly constructed in the fifth or sixth century. The building went through various transformations during the following centuries, the last of which – by the architect Sinan – occurred in the sixteenth century, since the church had been converted into a mosque after the conquest of Nicaea by the Turks in 1331. The most important of the Byzantine repairs of the church have been dated by the aforementioned scholars to the eleventh century, and more specifically to a time soon after the earthquakes which affected Nicaea in the period 1063–1065, causing serious damage to most buildings. The neighbouring church of the Dormition of the Virgin was also extensively reconstructed at the time, after the partial collapse of its superstructure. (shrink)

The article is devoted to almost unknown monastery of the Russian Orthodox Church, a Holy Trinity Zosimo-Savvatievskaya Novo-Solovetskaya Krasnokholmskaya poustinia that was one of the important pilgrimage places of the royal family in the 17th century. Despite the fact that the monastery was founded in the reign of Tsar Alexei Mikhailovich, it is an important link in the historical and cultural development of our Fatherland, primarily because the extant architectural monuments of outstanding artistic qualities. That is why the architectural (...) ensemble of the monastery occupies a prominent place in the history of Russian culture. In addition, Novo-Solovetskaya poustinia is an important historical object providing data on the development of Russian spiritual and artistic culture of the late seventeenth century. The question of cultural-historical and social roles that Orthodox monasteries played in the history of Russia is still not sufficiently studied is. The modern development of the Russian state cannot be complete without the restoration of the positive legacy that has been lost in our culture and morality. In this regard, the study of development and formation of the Orthodox monastic culture may fill this gap. Historical development of the Zosimo-Savvatievskaya Novo-Solovetskaya Krasnokholmskaya poustinia, its architecture can contribute to the restoration of our historical memory, which is an important factor in the revival of our national identity. The author of the article also tells about the history of monastery in tough years of godless power and about the people, who died for their faith and who are called now the new martyrs. (shrink)

Northrop Frye once remarked that when art reaches a certain level of intensity it begins to speak about itself. Karsten Harries, in his excellent new book, provokes in the reader an image of the Bavarian rococo church having reached this degree of self-consciousness, to the extent that it calls into question not only its own special limits, but those of all sacred art. In Harries's words, the Bavarian rococo church is "no longer able to take seriously the pathos (...) and rhetoric of the baroque, yet refuses to give them up; so it plays with them." Harries's argument centers around three axes: first, the conflation of painting, architecture, and ornament into a single art form; second, the change in and thematization of the viewer's perspective resulting from this conflation; third, the encroachment of the aesthetic upon the sacramental, an encroachment which follows from this new emphasis on the viewer's perspective. Thus, Harries's claim: the very principles of the Bavarian rococo church lead to its own disintegration at the hands of an "aesthetic attitude," according to which "a work of art is governed by the demands of its own aesthetic perfection.". (shrink)

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. (shrink)

This paper focuses on the remains of the Baptistery chapel within the North Church complex on the outskirts of Shivta, a fifth-seventh century Byzantine village in the Negev. Presumably a monastery, the North Church is the largest and most elaborately constructed of the three Shivta churches. After addressing general structural and chronological issues of the complex, a comparison of the North Church Baptistery to the South Church Baptistery aims to clarify the linkage between shape and ritual. (...) The authors propose that the earlier South Church Baptistery probably served the public, while the later North Church Baptistery fulfilled the internal needs of the monastery. The remains of the Baptism of Christ wall painting, recently rediscovered in the apse of the North Church Baptistery, complements, even if partially, knowledge of the links between architecture, liturgy, and art within the space. The study offers a glimpse into the religious and cultural world of the people who lived in this arid and remote, but by no means isolated area. (shrink)

This article examines a small subset of late antique veil imagery – depictions and descriptions of veils in motion – in visual and literary sources including churches, synagogues, and descriptions of the veil of the temple in Jerusalem. Architectural veils played a role in the demarcation of space, the creation of spectacle and sacrality, and the orchestration of social relations and hierarchies. By exploring the ways in which late ancient subjects envisioned, encountered, and “thought with” veils, we can chart the (...) ways that dynamics of covering and uncovering, sight and secrecy, and vision and touch, converged with ideas about gender, desire, and the sacred. (shrink)

The temple is a pivotal event in the religious life of the different cultures. In the article some aspects of the experience of the temple as sacred space are addressed. Qualitative dimensions of sacred space in Christianity and Islam as their directionality, hierarchy and dynamics are analyzed. In this perspective, it attempts to shed light on the genesis and the different meaning of the bell tower and the minaret as specific configurations of the sacred architecture of Christianity and Islam.Key (...) words: sacred architecture, space of the temple, bell tower, minaret. (shrink)

_Varieties of the Self_ discusses human perspectives of the Paraclete (founded in 1129) on sacrifice, intentionality, and views on body and soul. The anthropological approach connects different works written by Peter Abelard to views on the individual within this community.

The rethinking of the events of the Soviet past largely concerns the sphere of church-state relations. The significant losses of cultural and architectural heritage during the Soviet period make it expedient to study the mechanisms of liquidation of church buildings in the second half of the 1960s. The purpose and objectives of the article. To determine the principles of state policy in the field of religion and methods of its implementation by party-state structures concerning the church network (...) of the Russian Orthodox Church in the Ukrainian SSR. The research methodology. The research methodology is based on a set of philosophical, general scientific, and historical methods and principles. To solve the specific tasks of the study, the principles of objectivity, historicism, systematicity, and comprehensiveness were also used. Research results. The period of the second half of the 1960s was marked by the liberalization of official views on the religious sphere, the abandonment of repressive methods of fighting religion and the Church, the beginning of the latent destruction of sacred buildings, and the dominance of the Soviet state’s nihilistic attitude toward cultural heritage. The Russian Orthodox Church remained entirely subordinate to the Soviet state, which disregarded its legitimate rights and interests. Discussion. The repressions of the “Thaw“ period and the failure of building a communist society led to a loss of public confidence in the possibility of a just welfare state. It became clear that by practicing persecution, restricting the rights of priests, and banning them from studying in theological schools, the Soviet government was undermining its authority. Therefore, in the 1970s, ideologues of the CPSU Central Committee proposed a new model of churchstate relations — the adaptation to communism. There were no fundamental changes in party policy, as it was based on the Marxist doctrine of religion as the opium of the people. The anti-church orientation of state policy remained, only its forms and methods were transformed. The period of massive closure of Orthodox churches was replaced by a new long-term period, called the period of “streamlining the religious network”. Conclusions. One of the directions of the state’s policy towards religion in the mid-1960s was the targeted liquidation of religious buildings of the Russian Orthodox Church. The main reasons for it were the ideological and political priorities of the state leadership. The closure and destruction of religious buildings were systematic actions of the party-state structures in the process of implementing their policy in the field of religion in the Ukrainian SSR. (shrink)

In the texts that presented the theoretical assumptions of the Parc de La Villette, Bernard Tschumi used a large number of terms that contradicted not only the traditional principles of composing architecture, but also negated the rules of social order and the foundations of Western metaphysics. Tschumi’s statements, which are a continuation of his leftist political fascinations from the May 1968 revolution, as well as his interest in the philosophy of French poststructuralism and his collaboration with Jacques Derrida, prove (...) that terms such as disruption, dissociation, disfunction, disjunctions and dispersion not only referred to architectural problems but also applied to political criticism and the deepest foundations of thinking itself. His collaboration with Derrida manifested itself primarily in the publication La Case Vide: La Villette, 1985, in which the architect’s design drawings and texts explaining his concepts related to the Park de La Villette were accompanied by an extensive essay by Derrida, which included theoretical problems taken up by Tschumi in a philosophical context. Architectural and philosophical issues were also combined during seven discussion meetings organised by Peter Eisenman, invited by Tschumi to collaborate on the design of the Parc de La Villette. Eisenman, who, like Tschumi, invited Derrida to participate in the design of the park and also led to the publication of Chora L Works: Jacques Derrida and Peter Eisenman, in which his ideas were confronted with Derrida’s philosophical text. In this case, Derrida’s essay was not a direct commentary on the architect’s concepts, but rather a reflection on the question of the chôra presented by Plato in Timaeus. During the discussion and in his essay, Derrida pointed out that the chôra is a component of the created world, yet it does not belong to it, but precedes it. The originality of the chôra is so radical that she also precedes all the factors of creating the world, including ideas and the Demiurge. Thus a thesis appeared in the metaphysics of the West that the chôra is a form of active abyss, in relation to which all beings are secondary, both those perfect (as ideas or God) and those created, such as the world, things, people or language. This leads to the conclusion that the chôra does not exist, because all existence is a derivative of the chôra. Nor could the chôra be described, since it is a form of developing a space that is preceded by a lack of space characteristic of the chôra. Derrida intended the chôra to be an instance with an exceptional degree of transcendentalism, an anti-metaphysical instance, but also an a-theological one. However, this attempt failed, both in the field of secular philosophy and in the field of theology. Derrida’s characteristics of the chôra to strengthen its transcendentalism and negation of metaphysics had to be expressed in a language that immediately produces new concepts and a new metaphysics that reproduces the categories of the beginning, the origin or the foundation known from earlier philosophical traditions. All forms of criticism of metaphysics are also inspired by negative, apophatic and mystical theology. The undermining of many concepts of permanent meaning and the introduction of new concepts of unstable meaning, characteristic of the philosophy of deconstruction, had many features of originality, but it was directed towards problems whose solutions repeat, with the use of new vocabulary, the findings known in culture since Democritus. Thus, if apophatic philosophy can be regarded as deconstruction avant la lettre, then deconstruction itself in its late versions began to take on the features of a new religion. The exchange of inspiration between theology and deconstruction was manifested in a series of scientific conferences and publications in which Derrida’s philosophical concepts were interpreted within the scope of religious thought. Theological threads began to be found in such concepts of deconstruction as différance or the chôra, while at the same time Derrida himself undertook in his philosophy to study problems such as the Other (L’Autre) or Impossible (Impossible), which belonged to newer theological traditions. As a consequence of the new problems, the deconstruction became closer to the features of a new religion. Philosophy, at least from Kant’s time, has tried to create a system that would take over from religion the tasks of setting moral and political goals. Similarly, Derrida has directed his interest towards the problems of democracy and ethics, which would enable their renewal. Attempts to create a new religion (cleared of old metaphors), a new community or a new democracy bring problems and threats which may be no less troublesome than the previous systems. All promises of freedom carry with them threats, the greater the more they strive for perfection. The renewal of existential orders, sometimes carried out by means of violent changes, is a certain repetitive feature of human cultures. Deep changes, however, do not protect against the return of both old gods and old demons. Tschumi and Derrida were shaped in their youth by the atmosphere of leftist rebellion against the moral and political limitations of ossified communities and the imperfections of democracy. The ethical theme distinguishes many of their works, including the Parc de La Villette. The opposition to the metaphysical traditions of philosophy and architecture contained in this park was prompted by specific political situations and resulted from bringing political issues to the level of philosophical considerations. Achievements made at the level of pure concepts were then subject to elevation, to a kind of sacralization, which made them religious concepts. The deconstruction reached for the stratus of the new religion especially when it found its followers and began to generate moral obligations. In the new situation, terms such as the chôra, l’autre or the Impossible were absolutized and in relation to them a cult and attitude of adoration emerged. The Parc de La Villtette then gained new post-secular meanings, which allow it to be assigned the function of a Temple of Otherness (L’Autre) and Impossible. (shrink)

Approaching the subject from an interdisciplinary point of view, in the present article I will suggest an interpretation of several capitals in the Romanesque church at the monastery of San Martín de Frómista in light of the urban revolts at the beginning of the twelfth century in León-Castile. I will also claim a later chronology for the church, whose construction frequently has been located in the second half of the eleventh century. A document making reference to the construction (...) of the monastery of Frómista is dated 1066; it states that an ample donation of land was included along with a subordinate neighborhood of townspeople. Through an architectural and iconographic analysis of the building and the close reading of a narrative source, the so-called Primera crónica anónima de Sahagún , I will propose that the church of San Martín was constructed around 1120, after the subordination of the monastery to Cluny two years earlier. (shrink)

This dissertation contextualizes the emergence of the Church of Light by Tadao Ando within the Japanese religio-philosophical tradition of nothingness. The idea of nothingness was revived during the first half of the twentieth-century by Kitaro Nishida with two cultural ramifications in the post-war period: a series of dialogues on the points of convergence and divergence between nothingness and the God of Christianity, and an architectural art movement called Monoha, or l'Ecole de Choses. Under the concept of "structuring emptiness," Monoha (...) attempted to restore perceptual depth where dichotomous semiotic representation is overcome through shintaisei, the co-originating corporeal fabric between the subject and object. This two-fold mapping, theological and architectural, not only illuminates the post-war cultural milieu from which Ando's church of spatial emptiness emerged, but also locates the church within the legacy of Nishida's nothingness. ;Nishida's philosophy of nothingness offers a perceptual theory of the "dialectic of self-negation" enacted by shintai, "the actively knowing body." Shintai is the agent of emptying selfhood by functioning as 'the sensational capacity to be filled by' the world. Shintai concretizes the perceptual matrix of co-emergence between the interiority of selfhood and the outside world. When its sensational capacity overflows, shintai enters into the realm of creative action to accommodate the surplus. The figure thus created is not a sign embodying subjective intentions, but constitutes the corporelly-inscribed, pre-reflective experiential datum of the world. Nishida called such a figure "the pure body of the artist," implying its apprehension not as the other in unknowable confrontation, but as the extended self. ;The dissertation examines how this notion of self-renunciatory perception through shintai opens a new hermeneutic horizon for the Church of Light. The church presents an unprecedented conjunction between emptiness, based on the reductive removal of signs, and the cross of light. This seemingly contradictory integration confronts the modern degradation of the cross into an atrophied sign of Christianity and seeks to retrieve its fully efficacious symbolic power. The emptiness contributes to the revival of a deeper communicative mode as shintai by negating the habituated perception pivoted upon the dichotomy between the deciphering subject and the semiotic elements. The perception of light, a natural thing rather than a sign, which infiltrates the cross, is a preliminary ritual to save the perception from the paradigm of the semiotic representation. Shintai, the self-emptying corporeality, resonates with and becomes penetrated by, rather than subjectivizes, the light. On this restored perceptual depth, the cross is perceived not as a sign, but as a part of the pre-reflective, ontological datum constructed and apprehended by shintai. This perceptual experience endorses the associational similarity between the pre-Christian datum predicated upon shintai as the agent of the self-renunciatory subjectivity and Christianity with its theology of the self-transcending love of kenosis. (shrink)

The architecture of mosques in West Africa, specifically southwestern Nigeria, evidences the input of Africans who were involved with the design of the Baroque churches of Bahia, Brazil.

A MEDIEVAL ARMENIAN CHURCH IN KARS: “TAYLAR CHURCH” ABSTRACT Some of the settlements located within the boundaries of the current Province of Kars had become the capital of the Armenian Kingdoms that existed in Eastern Anatolia in the medieval period as vassals of great empires of that time. Peace and prosperity prevailed in the region where Kars is situated during the 10th century and early 11th century. This provided an opportunity for the Armenian church which had developed (...) under difficult political, cultural and religious conditions, leading to the construction of numerous monasteries and churches in the region. We learn from the history book of Stephanos Asoğik Daronetsi, an Armenian historian who lived during the end of the 10th and the beginning of the 11th century about plenty of building activities within the territory of the Armenian Kingdom. Taylar Church is located 45 km to the east of Kars and 2km to the north of Horomos monastery. Its original Armenian name and date of construction is unknown, and it is now known as the Taylar Church. Taylar Church has a “domed hall” plan type of spesific Armenian Architecture. This type is a single nave partitioned into three sections with a dome over the central section. The drum is octogonal within and without, and rested on pandantives supported by semicircular arches. The earliar examples of this plan type in Armenian Architecture, appear Zovuni Surp Bogos-Bedros Church (6th), Ptghni Church (7th), Aruch Surp Gregor Church (7th) ve Dedmaşen Surp Tadeus Church (7th). So far in our research, the plan of type Taylar Church-with minor differences (windows, doors, ornaments etc.)- has been observed extensively applied after numerous churches in the 9th century in Armenian architecture. The purpose of this article is to introduce the Taylar Church within the Armenian architecture and to discuss its problems like identity and dating, by means of collected material through research on previous written sources as well as through the architectural data gathered during our field survey. Key Words: Armenian, Taylar, Church, Kars, Architecture, History. (shrink)

The separation of church and state isn’t the same as separating religion from politics. Countries that have enshrined secularism have found themselves discussing religious architecture, law and clothing.

In this paper, a pre-assessment of the Byzantine era of Aigai will be presented. Besides the western Anatolian cities of Pergamum, Ephesus and Smyrna, Aigai is the only city which achieved to cope with the rough terrain among the Aspordenon Mountains north of Smyrna. This city located 17 km east of the Yeni Şakran town in the province Izmir, also known as Köseler castle due to its location on Mount Gün near the Köseler village in the province of Manisa, and (...) is one of the twelve cities within the Aeolian region mentioned by Herodotus. Thanks to the detailed studies by R. Bohn and C. Schuchhardt on inscriptions from Aigai, the city was first introduced to the academical world in 1889. Archaeological studies started in 2004 and were conducted by Prof. Dr. Ersin Doğer. While the archaeological and written sources about the history and civilization of pre-Byzantine Aigai are rather well-known, in this paper it will be attempted to give an overview of the scarce written sources about the Byzantine era and to evaluate them in the light of so-far unpublished architecture and small finds. Since 2004, area based excavations have been carried out in the necropolis of the city, at Demirkapı and the insula situated east of the Tiberius gate which are the entrance points of the city, in the Bouleuterion, Agora and Macellum to its east, in the cisterns nos. I and II and in the easternmost part of the acropolis. The residential areas, built by the last inhabitants of the region, the Byzantines, by using spolia of older buildings, are badly preserved. The architecture, which, due to its location on a hillside, has been harmed by landslides and torrents, but also by human destruction such as treasure hunts and stone borrowing, is very fragile. The only preserved architecture so far is a sacral building dated to the 12th or 13th century. Abundant pottery and glass small finds, together with some metal objects and coins, enable us to get an idea of the Byzantine era in Aigai and provide a foresight to further studies. (shrink)

Three separate churches erected in Constantinople were all dedicated to the wisdom of Christ and erected on the same site one after the other. These churches were built between 360 and 537 AD by three different emperors: Constantius II, Theodosius the Younger, and Justinian I. The first two churches were consumed in flames after relatively short lives, but the final and greatest church still stands today, despite a history of extensive damage. This final edifice is the main focus of (...) this paper, owing to its 1500 year longevity and unprecedented architecture. If the entire History of Justinian's church is to considered, it is inaccurate to refer to it as a “church,” because although it remained a church for the first 900 years after its audacious construction, it was later converted into a mosque. Today it is a museum, in remembrance of its long history. (24). (shrink)

La pensée est un patrimoine discret et secret au point qu'elle n'est pas habituellement considérée comme un patrimoine au sens propre. Pourtant elle est à l'origine de tous les autres. Probablement sans l'exercice de cette faculté qui leur est propre, les êtres humains n'auraient jamais conçu leurs monuments extraordinaires ni leurs constructions admirables. Du plus petit phénomène jusqu'à la loi générale qui en coordonnerait les enchaînements, la recherche cultivée à l'intérieur de jardins divers et multiples tout le long de l'histoire (...) révèle un désir caché d'absolu. Comme si le jardinier dans l'aspiration d'élargir son horizon avait été amené à un certain moment à pousser les murs et à se retrouver chez le voisin, dans le monde et hors du monde par étapes successives. Un jeu de l'observation, de la mémoire et de l'imagination. En 2003, dans le cadre idéal de la Chartreuse de Valbonne, quelques représentants de disciplines diverses allaient reprendre ce jeu autour d'un thème aussi libre que contraignant tel que l'Espace Spirituel peut l'être. Quelques architectes, mathématiciens, musicologues, musiciens, et philosophes évoquent l'expression : Espace Spirituel chacun selon son angle de vue. L'idée d'Espace dans une cathédrale, dans le désert ou dans un chou fleur... Le Spirituel traverse les cultures du christianisme au judaïsme à l'indouisme. Le regard a l'écoulement du temps et les vignobles de la Chartreuse de Valbonne comme perspective. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Osip Mandelstam and the Modernist Creation of TraditionHarold D. BakerOsip Mandelstam and the Modernist Creation of Tradition, by Clare Cavanagh; xii & 365 pp. Princeton: Princeton University Press, 1995, $39.50.The great, enigmatic poet of twentieth-century Russia, Osip Mandelstam (1891–1938), employed a poetics based on recollection. The word-soul or psyche is not contained within a linguistic body but hovers amorously over it, [End Page 257] fleeing any too crude (...) attempt at capture. The reader must trace out Mandelstam’s personal networks of association, both inside and outside the text, before a kernel of thought and emotion can be recognized (“only the moment of recognition is sweet to us,” goes a famous line from his “Tristia”). Although Clare Cavanagh’s book does not emphasize this theme, her tactics could hardly be better suited to Mandelstam’s peculiar poetic sensibility.Osip Mandelstam and the Modernist Creation of Tradition is an exhaustive exploration of historical and cultural context. It opposes itself explicitly to the traditional structuralist and semiotic approaches to Mandelstam, and takes his works in their “secular” rather than their “hermetic” aspect (to borrow terms from Robert Scholes). In that sense it seeks to recollect and bring to mind everything that might affect our understanding of Mandelstam’s oeuvre. This turns out to be a varied field: Pound and Eliot (coeval modernists whose ideas resonate significantly with his), François Villon, Byzantine and Gothic church architecture, the marginalized yet culturally dynamic position of the Russian Jew, Pindar (an exemplar of the social-economic relation of poet to state), Dante, the psychology of literary play, and even Charlie Chaplin. Although it does not use extensive biographical framing, the book proceeds through Mandelstam’s poetry and prose in chronological order, alternately pursuing aspects of context and concentrating on selected works by Mandelstam for sustained analysis.What results is perhaps the most serious comprehensive work on the poet produced so far. Cavanagh’s approach may appear diffuse at first, but it enables her to capture a great deal of this elusive genius without confining Mandelstam within a narrow critical purview. The book’s argument is that Mandelstam qualifies as a central modernist poet through his agonistic relation to an ideal of “world culture.” He attempts to recreate an authoritative literary and cultural tradition that his own innovative work would both continue and transform. And it is from this point of view that Mandelstam’s Jewishness appears so significant to Cavanagh (a chief issue in three out of eight chapters): it gives a precise formula for that position both inside and outside of the dominant culture. Cavanagh even contends quite suggestively that, for Mandelstam, both Dante and Chaplin function as avatars of Jewishness.All this is well-founded and important, but perhaps the best thing about her book is that its central argument doesn’t do justice to the richness of Cavanagh’s own materials. Her discussion does not weaken, for instance, as it leaves Mandelstam’s early period, when the notion of “world culture” was indeed an obsessive one for him. The book is equally effective on the brilliant late poems of the Voronezh cycle, by which time not only a place in world culture but even a secure place in human society seemed futile dreams to Mandelstam. Cavanagh’s readings of the prose and especially the poetry are flexible and sensitive; she gives beautiful accounts of the poetic wordplay and follows closely the ebb and flow of musicality in the verse from one period and [End Page 258] collection to another. More than a milestone in Mandelstam studies, this book brings the poet closer to realizing his fondest dream: a responsive, understanding readership or “interlocutor.”Harold D. BakerUniversity of California, IrvineCopyright © 1996 The Johns Hopkins University Press... (shrink)

This clearly designed and illustrated book is dedicated to a complete overview of Richard Meier's Barcelona Museum of Contemporary Art, completed in 1995. Located in the area of the Casa de la Caritat, a former monastic enclave, this extraordinary building maintains a unique dialogue between the city's old urban fabric and the contemporary art housed within the museum. Barcelona's first institution devoted entirely to twentieth-century art, this museum synthesizes the striking contemporaneity of its bold architecture and the rich medieval (...) history of its context. Meier's masterful use of materials -- pristine white aluminum panels, glass, stucco, and granite -- and characteristic modern style emphasize a play of solid and void, light and shadow, through the museum's fluid, geometric forms. An external ramp leads from the sweeping plaza to a triple-height atrium space. An internal, glass-enclosed ramp unfolds vertically along the front facade of the building, offering breathtaking vistas of a sixteenth-century church and the romantic city beyond and leading to three floors of open exhibition areas. This unique publication documents the dramatic design with preliminary sketches, models, drawings, and lavish color photographs. (shrink)

Bishop Robert Grosseteste and Lincoln Cathedral provides a much-needed and in-depth investigation of Grosseteste’s relationship to the medieval cathedral at Lincoln and the surrounding city. The architecture and topography of Lincoln Cathedral are examined in their cultural contexts, in relation to scholastic philosophy, science and cosmology, and medieval ideas about light and geometry, as highlighted in the writings of Robert Grosseteste - bishop of Lincoln Cathedral. At the same time the architecture of the cathedral is considered in relation (...) to the roles of the clergy and masons; the policies of the bishop; matters of governance, worship and education; ecclesiastical hierarchy, church liturgy, politics and processionals. Investigations include parallel studies of Salisbury Cathedral and Charlemagne’s Palatine Chapel at Aachen, highlighting important connections in regard to ceremonial itineraries and political/religious hierarchies. Finally, the book explores Grosseteste’s ideas in the broader context of medieval and Renaissance cosmologies, optics/perspective, natural philosophy and experimental science. The contributors to this volume make an important contribution to our current understanding of the relation between architecture, theology, politics and society during the Middle Ages, and how religious spaces were conceived and experienced. (shrink)

Originally, the Church of the Caves was not a temple in the sense of an architectural building but a complex of caves. The word "church" is used here in its initial gospel sense of council, a gathering of the initiated. Thus, what we are talking about is a certain community that prefers life in a cave to a settled secular social order. A study of the symbolic aspects of the image of the cave and cave dwelling can be (...) an interesting contribution to the explication of certain essential features of Old Kievan monasticism. This article is an attempt at such an explication. (shrink)

This article is a critical investigation of the buildings and writings of Étienne-Joseph Gaboury, a prolific French Canadian architect who, in the 1960s, designed several modern parish churches and engaged with various liturgical documents issued in the context of the Second Vatican Council. How have the various calls of priests and theologians advocating for artistic and liturgical renewal—calls which became increasingly frequent in the North Atlantic world after World War II—been adapted and implemented in specific architectural landmarks by Gaboury, such (...) as his famous Précieux-Sang Church and Blessed Sacrament Church in Manitoba? I argue that Gaboury’s account of the origins of Christianity and his description of religious experience in both embodied and spiritual terms, found in his essay “Design for Worship”, can be understood not simply as an aggiornamento, or bringing the Church “up to date,” but also as echoes, in aesthetic and architectural terms, of some of the key tenets of the “new theology,” which were central to the changes put forth by the Second Vatican Council. I also argue that Gaboury’s interests in materiality and in the evocative power of light need to be read through the rise of phenomenology in postwar North American architecture. By looking at various archival documents, I propose that Vatican II was not a unilateral, top-down paradigm shift, or a rupture with tradition, but rather a complex and ongoing negotiation between the architect, ecclesial authorities and lay people. (shrink)

This article presents the recent literature about the church Nossa Senhora da Consolação, considered through the prism of the study of sacred art. After a historical overview about the neighborhood and the ancient temple of Consolation, will be highlighted some most relevant artistic aspects of architecture and works of art gathered in the sacred building, designed by German engineer Maximilian Emil Hehl, whose inspiration reports to the formal and stylistic features of Romanesque architecture as well as the (...) influences of eclecticism with a predominance of Romanesque Revival architecture and Gothic Revival in São Paulo in the early twentieth century. (shrink)

MANY, PERHAPS MOST OF US, tend to connect art with the past. Faced with the art of our own time we become unsure: everything important seems to have been done, the vocabulary of art exhausted, and attempts to develop new vocabularies more interesting than convincing. Ours tends to be an autumnal view of art. The association of art and museum has come to replace such older associations as art and church, or art and palace. As we know it, the (...) museum is a comparatively recent institution, emerging only in the first half of the nineteenth century, thus lagging somewhat behind such related phenomena, as e.g., archeology, art-history, and neo-gothic architecture, all expressions of a museal [[sic]] attitude extending far beyond art to religion and even to nature. Consider the significance of setting aside a certain part of nature as a national monument. Monuments serve to commemorate, most often the dead. What do such natural monuments commemorate? Perhaps nature herself? But does nature need commemorating? Does it, too, lie behind us? Will future generations know nature only in the form of natural monuments? We do indeed live in an age which increasingly forces us to question whether nature still has a place in the modern world, whether it is not rather a relic from the past. By trying to preserve nature in specially created parks or monuments we show that this loss, although perhaps inevitable, is nevertheless felt to be serious. (shrink)