The Temple of Dendur is a remarkable work of art and dates back from Nubia (15 BC) and is made primarily of sandstone blocks that have been carved by master craftsmen. It is formed into two separate pieces, the first one being the entrance portal about 19 feet high, and the second part being the temple that consists of an anteroom and rear chamber. The length of both the parts of the temple is about eighty feet from the entrance to the back portion. The structure of the temple is relatively simple and was designed to serve the purpose of being a permanent showcase of the medium of sculpture used during the time of its construction. The decorative style of the temple clearly indicates that it was not just designed as a prayer hall but to act as a conduit between the present world and the next where worshippers in this world could walk through the building and observe the gods portrayed in the artwork carved on its face. The impact of this building is of simplicity whereby the sculpture is visible to be composed of different elements, each of which has their own purpose of having been executed for relevant reasons. Researchers and historians are of the opinion that when this temple was built it was painted in vivid colors and with scenes that showed lifestyles and religious themes. The building in itself is a unique piece of art and architecture not because of one or two special characteristics but due to being a sum of what it stands for. Undoubtedly the temple is a work of religion that is long forgotten and there are not many such temples in the world now. The focus of the temple is seen in the rear room where the visitor is attracted into closely observing the art forms. The base of the external part of the temple is carved with images of grass as visible on the riverbed, and with papyrus depicting Hapy, who was God of the River Nile. The columns in the antechamber of the temple are presented decoratively as if they are flowers growing towards the sky.
Content
Egyptian temples are not considered to be only centers of cult images but also signified by design and their decorative style and a wide array of mythological and religious concepts. An important significance of such forms was the understanding that the temple depicted the natural world as viewed by Egyptians. Images above the gate of the temple entrance depict the Sun God as flanked by Horus the Sky God with his wings spread. The sky is also depicted with the presence in carvings of vultures with their wings spread wide that are clearly visible on the ceiling of the porch at the entrance. The symbol of life is depicted on the outer walls where scenes are carved that show the king making offerings to deities. Deities such as Isis, Osiris and their son Horus along with others are carved with inscriptions beside their forms and are depicted in horizontal style and are identified by their names, which appear close to their figures. Many of the figures clearly read as ‘Pharaoh’, who in this case was Caesar Augustus of Rome, the ruler of Egypt at the time and he had the temple built and depicted himself in it as the Pharaoh. This temple was small and was built around 15 BC in honor of the goddess Isis and Pedesi and Pihor who were the deified sons of the local chieftain of Nubia.
Context
It is well known now that Egyptian temples were never constructed only for cult images and for worshipping only, but were strongly characterized by way of their design, decoration and construction patterns that implied different mythological and religious concepts were well represented by them. The most important symbolic understanding that arose from such structures was the concept of temples being images of the way of life of people during the time and that the natural world as perceived by the Egyptians was well symbolized in them. The linings of the temple base were represented by carvings of lotus plants and papyrus that were symbolic of growing from the water and which have been clearly depicted by the carved figure of the Nile God Hapy. The columns of the porch symbolically and majestically are shown to rise towards the sky implying the papyrus stocks bound with lily flowers signifying rituals in honor of the Sun God. The outer walls depict the symbol of life, which is inferred from the forms of the king making offerings to different deities. Although the temple was described as Egyptian, it was built by the Romans, hence the work relates to the time of renaissance Italy. The temple ostensibly shows Augustus, the Roman emperor worshipping Nubian deities including Pahor and Pedese who were the sons of the ruler of Nubia and were drowned in the River Nile and subsequently deified and worshipped. The temple of Dendur primarily signifies the celebration of these two brothers contained in the thickness of its rear wall and serves as a cenotaph for them. It is also believed that this temple was constructed in place of a more ancient rock-cut shrine in which these two brothers’ cult was deified and celebrated. A noteworthy ritual related to the same temple was celebrated in the name of Augustus on behalf of the two brothers in contemporary Sayala located close to Abu Simbel. Therefore Nubian religious systems had percolated into the Roman period at Dendur and Sayala.
Comparison
The temple of Dendur can be compared to the Temple of Debod which too is an ancient Egyptian temple which was transported and built again in Spain. The construction of this temple was initially started in the second century BC by Adikhalamani who was the Kushite king of Meroe, and was comprise of a small room that was dedicated to Amun. It was later expanded on all its four sides to make a temple. It is understood that the Roman emperors Tiberius and Augustus completed the construction of the temple. Similar to the temple of Dendur, there is a long passage that leads to the main temple from the entrance formed by three stone gates of pylon. This temple is similar to the Temple of Dendur in being built with sandstone blocks. Behind the original columns of the temple, the original sanctuary of the God Amun could be found with the kind of sculpture and carvings that characterize the temple of Dendur. Just as the temple of Dendur was transported to New York to save it from drowning in the great dam of Aswan, this temple too was transported to Spain in 1960 for the same reason. The stone slabs of both temples were separated, packed and transported by ship to their respective destinations during the 1960s.
Works Cited
Origin of the Egyptian Temples. 2008. Web.
Robert Steven Bianchi, Daily Life of the Nubians, Greenwood Publishing Group, 2004.
The narrator says that this is the largest building in the entire world that is made of mud. Two brothers previously owned the land where the Islamic building is situated before they sold it to Prophet Muhammad. The mosque has an Arabian courtyard that contains a unique architecture of bricks. Edges of the courtyard area adjacent to huts that the religious leader built for his wives. The huts are also made of bricks, and the structures are roofed with palm leaves. At the center of the large building is a well that the Prophet dug a well to have a continuous source of water. Notably, the palm tree columns that are nicely covered by palm leaves were some of the features that were borrowed by all other mosques that were built afterward. Moreover, this Arabian architectural plan was inherited by Middle Eastern courtyards where they play different roles such as being places for tethering animals, washing, cooking and preaching. On some occasions, courtyards offer perfect places for followers to spend their nights going about their activities while being protected by their strong walls (“Paradise Found”).
Several things about the Great Mosque of Djenne attract me. First, the building has a rich history of not only being used as a temple but also as a home for the Prophet, his wives, and followers. Second, it is this Mosque where Muhammad was told to change the direction he was facing while praying – from Jerusalem to Mecca. Third, the site has historical maps of the Islamic world, and one learns that they include places such as Spain, the Arabian Peninsula, and North Africa, all of which are important places in the spread of Islam. Finally, I find it interesting to learn that although Prophet Muhammad was born about 570 years after the birth of Christ, the new Islam religion spread at an astonishing pace around the world (“Paradise Found”).
Blue Mosque
This religious building was designed and put up by Ahmed, who was the Ottoman Sultan, about a thousand years after the Great Mosque of Djenne. The architect who designed the mosque is described as a hero because he outdid Christians in their architectural plans. Borrowing from other mosques around the world, the religious site has a tomb of its founder, a school, as well as a hospice. It is important to underscore that even though the site is used as a tourist attraction, non-worshippers are prohibited from using it for thirty minutes when Muslims pray five times during the day. The magnificent architecture of the mosque can be seen when an individual enters it from the west. Remarkable parts of the site on the south lie on the foundation of the Great fortress, which was one of the fortresses built before the founding of the mosque (“Paradise Found”).
I was fascinated by a few things about the Blue Mosque. First, I was attracted by its domes that appear flattered in comparison to St. Peter’s in Rome. In fact, they resemble the top of a saucer, and they make someone feel enclosed and view it as if it is a gigantic dome. Second, I was astonished by the information about the expensive upkeep of the mosque that was funded by 217 villages and islands under the leadership of the Sultan. In addition, the building was maintained by funds received from the enterprises the Sultan built near the corner; an example was a Turkish bath (“Paradise Found”). I also like the amount of blue, which is, of course, why the prayer center was given its name.
Pasha Mosque
The Pasha Mosque is one of the earliest Islamic constructions built by the Ottoman Empire in Istanbul. The building sits on a high terrace that is surrounded by a series of shops, whose income was expected to support the complex housing the prayer center. Although its courtyard is relatively spacious, the interior series of steps are narrow, particularly in the corners. In addition, the exterior architecture is typified by domed bays that are connected to a row of columns. Concerning the interior of this mosque, the structure has several patterns of flora and geometry. Different designs represent the historical utilization of Armenian bole, which was a red pigment that was widely used in pottery. The mosque’s plan shows an octagon put inside a rectangle. Both southern and northern parts are collections of galleries that get structural strength from pillars and marble columns (“Paradise Found”).
What attracts me the most in this mosque is the prolific utilization of Nick tiles. Some mosques constructed later used these tiles sparingly (“Paradise Found”). The lavish use of the tiles is a demonstration that the founder of the mosque wanted it to stand for opulence in society and draw as many worshippers and believers as possible. The magnificence of the building is further improved by a mixture of sage green and purple, which represent the early coloring standard of Damascus ware.
Architecture is another way to tell stories and shed light on numerous historical events and cultural peculiarities of the nation. Clearly, architects often find inspiration in works of other artists, those who created masterpieces in previous epochs. This is the case with the Pazzi Chapel located in the heart of Italy, Florence. It is obvious that Filippo Brunelleschi was inspired by one of the most majestic architectural masterpieces, Parthenon, located in Greece. The two temples have many features in common, as they both have an altar, they both occupy a place within a city and they are both based on the principle of mathematical perfection. At the same time, the two temples differ in their major use, in the type of people who attended them and in their meanings.
As far as similarities are concerned, it is possible to stress that the two buildings are both characterized by mathematical perfection (see fig. 1). Parthenon has a rectangular form that is emphasized by the use of columns (Hurwit 18). The use of space is remarkable as the temple is very airy and people feel the glory of deities in it. The Pazzi Chapel also has a rectangular form adorned with columns (Kleiner 442). Notably, the use of the massive dome could create a feeling of round spaces but it only stresses the perfect geometrical forms chosen by the architect. Of course, the use of space also aims at creating the specific atmosphere in the temple. The geometrical perfection is also emphasized by the use of altars on axis with the front doors of both temples. It is also important to add that both temples have quite a specific location as they are surrounded by other buildings. The temples are integrated into the urban setting, which is quite common for religious sites. Each of the temples is situated on the hill. This stresses the grandeur of the temples.
However, the two temples are quite different. For instance, they were used differently. The Pazzi Chapel was used for educational purposes. Higher ranks of clergy and nobility also gathered there (Kleiner 442). Apart from that, there was also a place to bury the richest representatives of the city. When it comes to the Parthenon, this was a sanctuary of the goddess Athena, but, more importantly, it was used as a treasury (Hurwit 32). Of course, different people attended the two temples. The Pazzi Chapel was predominantly attended by nobility and priests, while the Parthenon was visited by priests. Finally, the two temples had quite different meanings. The Pazzi Chapel was to reveal the might of the city and its richest families while the Parthenon was a symbol of the victory of the Greek (civilized) nation over barbarians. Thus, in the former case, wealth was glorified, while the glory of civilization was emphasized in the latter case.
Figure 1. The Pazzi Chapel and the Parthenon
In conclusion, it is possible to note that the Pazzi Chapel is based on the same principle as the architecture of Parthenon is. This suggests that Filippo Brunelleschi found inspiration in the Greek architecture. Of course, the temples were constructed in different epochs and, hence, they differed significantly in their use and meanings. However, it is possible to note that the two architectural masterpieces have the same meaning at present, as they are people’s cultural heritage.
Works Cited
Hurwit, Jeffrey M. “Space and Theme: The Setting of the Parthenon.” The Parthenon: From Antiquity to the Present. Ed. Jenifer Neils. New York, NY: Cambridge University Press, 2005. 9-35. Print.
Kleiner, Fred. Gardener’s Art through the Ages: The Western Perspective. Boston, MA: Cengage Learning, 2009. Print.
Angkor Wat is located in Siem Reap, Cambodia and its name means “City Temple”. King Suryavarman II, who ruled in the 12th century, most likely built this edifice.
At the moment, it is a place of Buddhist pilgrimages and tourist visits, used as a temple.
The form of this cultural monument is architectural structure, while the medium of this temple is stone. During the construction and design, the carving technique was used, the size is monumental. It is a rectangular building with cone-shaped towers, horizontal and sprawling in area. The lines are thin and regular in the main relief of the building. The imposing forms of the building are combined with the detailed corrugation of the walls and the careful elaboration of dozens of additional cones framing each tower. The color scheme is stony grey, provided with a touch of antiquity, which also conveys a feel of intermittently ruin-like texture given minor damage to the surface of the temple decoration.
The city temple is a dedication to the god Vishnu and is decorated with carefully carved illustrations telling about his exploits. The most expressive element is the texture of the stones from which the towers of the temple are carved. The stone towers set inside the wall that surrounds the edifice refers to the Meru mountains, which were considered the palace of the ancient gods. The sprawling scale of the building also symbolizes more space between the mountains, while the rockiness of the texture also makes one think of mountains. Through the curves of the rocky texture, the elevations of the building gradually line up. This emphasizes the multi-stage texture of the “house of the gods” and proves that the artist really achieved a specific effect when organizing the building. Another symbolism of the building is that it is a world axis demonstrating the importance of the king’s role. The author also achieves this effect through the majesty of the building, which from the inside works on the principle of a multi-gallery labyrinth.
Architecture has always been one of the major means of expression of peoples’ vision of the better world, religious and social beliefs. There is a great number of glorious buildings that became cultural heritage of the world history. According to Devangana Desai:
“Art activity is a social process in which the artist, the work of art and the art public are interacting elements. The social history of art explores the dynamics of the relationship between the patron/public, the artist and the work of art in the context of the social formation of a given period of history” (3).
The Indian social history is closely related to its architecture. Style and meaning of Indian architectural buildings expresses the social character and religious beliefs of Indian people. There are two major temples widely known in the world that perfectly express this idea. These buildings are the Kandariya Mahadeva temple and the Taj Mahal. They are “the most characteristic artistic expressions of Hinduism that provide a focus for both the social and spiritual life of the community they serve” (Michell 14).
Though they are very different in form and design, as well as in their meaning, they express the ideas of life of the period in which they were built. As all temples, they were built with one purpose: to maintain the links between Indian people and their gods. In order to understand the peculiarities of style and meaning, it is necessary to explore these issues in details and compare them to one another.
One of the most important issues that influence on the form of the building is its purpose, or function. A famous American architect Louis Sullivan wrote, “form ever follows function”. This principle can be one of the explanations of the architecture of both buildings. The Kandariya Mahadeva is a great stone temple dedicated to god Shiva.
The temple was built in the middle of the 11th century. It is an example of the central Indian architecture style. In was built in honor of one of the major Indian gods. That is why it has a specific architecture design. It is a very big stone building decorated with stone sculpture figures of women engaged in different activities. Below, there are smaller friezes that depict different aspects of the social life of Indian people, processions of horses and figures of elephants, army, etc.
The building is also decorated with towers of different forms and sizes, “the principal shaft of the superstructure is almost completely obscured by a clustering group of miniature towers which grow in number as they descent, providing summit for each of the projections of the walls beneath” (Michell 121).
A total number of figures is about 8000 and the height of them are about three feet high. In addition, unlike the sculptures in other temples, the sculptures of the Kandariya Mahadeva are slender and rather tall. The carvings of different gods, goddesses and spirits can be found on the malor shrine of the temple. This temple is a bit larger than other Kandariya temples, “(102 feet long by 67 feet wide and 102 feet high)” (Allen 210).
Among the interior compartments, there is portico, entrance hall, which was designed in order to impress people who came there, a very big main hall, chamber and ambulatory. The platform, on which the temple is built, is also decorated with figures of women. The temple is surrounded by a beautiful green field. The entire image of the temple was designed in order to create a special atmosphere of calmness and spirituality. However, according to Michell:
“The temples are much more than a mere setting for the practices associated with certain beliefs; it is imbued with a complex system of symbolism by which it embodies the most elevated notions of Hindu philosophy while still serving the requirements of everyday religious life.” (14).
Indeed, the design of the building perfectly shows Indian cultural traditions. The poses of some of the figures suggest “a yoga exercise” (Allen 210). The poses are performed as a kind of ritual promoting the Indian spiritual traditions. Moreover, the design of the temple suggests a divine mission of the temple and promotes special ideology.
As Kulke and Rothermund suggest, the construction of the temple “coincides with the increasing samantisation of the regional kingdoms of India” (139). The temples of such kind were supported with grants of land and there were many servants. Though, the construction of the temple was rather expensive, very soon they became self-supportive and, what is more, they brought a great benefit for the king.
There was even a personal priest for the king. Thus, style, subject matter and meaning of the Kandariya Mahadeva are closely related to the social structure and beliefs of the Indian society. It represented not only religious traditions and cultural life of Indian people, but was one of the means of power, “the economic and political functions of the temple were realized in the role of the king in the royal ritual” (Kulke and Rothermund 140).
As opposed to the Kandariya Mahadeva temple, the Taj Mahal has an absolutely different style and design, as well as, it had a different function. If the Kandariya Mahadeva temple was built in honor of god, the Taj Mahal was built in honor of woman. It is a “mausoleum raised in honor of Mumtaz Mahal and it is determined to produces the finest building possible” (Ballard 72).
It is also known as the world’s most famous and inspiring memorial to love and devotion. It was created by the emperor Mughal Shah Jahan in 1632. Apart from the temple of Kandariya Mahadeva, it did not have any religious context and served only as a tomb. However, there is no building in the world that would produce so many legends and inspired so many poets to write about immortal love. Today, visitors from all over the world believe in its magic power and salutary qualities.
So, as well as Kandariya Mahadeva, it is the greatest building of its period, “It presents the high flowering of a civilization” (Ballard 73). If the style of Kandariya temple is purely Indian, the Taj Mahal is more Persian building than Indian. Its design is very romantic and tender:
“The Taj Mahal’s architecture is not for certain, but this much debated figure produced a design of flawless symmetry and exquisite elegance, a synthesis of Muslim and Hindu styles executed in rose sandstone and milk-white marble” (Preston and Preston 2).
The basic structure is a big cube with arched balconies, pishtaqs, columns and archways. Due to such construction, the design of the building is symmetrical. There are several chambers and in the main one, there are two sarcophagi of Shah Jahan “the sultan, who created the place, wishing to enshroud his dead wife with unheard-of splendor.” (Berinstain 148) and his wife.
The largest dome of the mausoleum is the Taj. It is also considered to be one of the wonders of the world. It is decorated with a lotus. Actually, the lotus motifs can be observed in many decorative elements of the building.
The finial is decorated by the mood, a typical element of the Islamic architectural tradition. Thus, we can say that Taj Mahal is very different from the Kandariya Mahadeva temple in its form, format and composition. The temple is made from sand and stone and widely decorated with sculptures. In its turn, the Taj Mahal is made from marble and decorated with carvings, paintings, stone inlays and stucco.
However, both of the buildings have specific meaning and deep social context. Apart from religious meaning, both architectural buildings reflect Indian traditions. In addition, both of them transfer the social aspect of power. The Kandariya Mahadeva temple deals with the issues of religious and political power, and the Taj Mahal embodies the power of feeling of love.
Thus, both buildings are the brightest representatives of the Indian architectural culture and traditions. They are very different in design, style and construction as these issues were determined by their purposes and social structures of the époques in which they were built. However, there is one common thing that unites these buildings, it is the issue of power as the aspect of the social context. The Kandariya Mahadeva temple deals with the politic power and Taj Mahal is the world’s most famous symbol of power of love.
Works Cited
Allen, Margaret Prosser. Ornament in Indian Architecture. London: Associated University Press, Inc, 1991.
Ballard, Martin. Era Histories: 11 Land of the Great Mogul, Akbar’s India. London: Taylor and Francis, 1973.
Berinstain, Valerie. India and the Mughal Dynasty. New York: Harry Abrams, 1997.
Desai, Devangana. “Social Dimensions of Art in Early India”. Social Scientist. 18 (3), 1990: pp. 3-32.
Kulke, Hermann, and Dietmar Rothermund. A history of India. New York: Routledge, 2004
Michell, George. The Hindu Temple: An Introduction to Its Meaning and Forms. New York: Harper and Row, 1988.
Preston, Diana, and Michael Preston. Taj Mahal: Passion and Genius at the Heart of the Moghul Empire. New York: Walker and Company, 2008.
Because of its mysterious nature, so alien to the Europeans, the Indian philosophy encourages the Indians create the things which the rest of the world can only stand in owe to, feeling completely breathless and excited to the core.
With their specific concept of beauty, the Indians offer the aesthetics filled with the religious and philosophic ideas of theirs, which seems so attractive both to the local people and to the tourists who flood the country every year. The Lotus Temple which has been recently built in the heart of India is a perfect specimen of such fusion of philosophy and aesthetics.
Back to Plotinus’ Idea of Beauty
Since the ancient civilizations were the first to introduce the idea of beauty to the world, with their own standards and their demands to what is supposed to be beautiful, it will be reasonable to start with their philosophy, as ancient and as profound as the one of the Indians.
Grounding their ideal of perfection mainly on the shapes, Plotinus argued that beauty must be breathing with certain idea, otherwise only an empty shell of what is supposed to be an artwork will remain. Interweaving aesthetics with philosophy, he filled artworks with sense which allowed artists to make their masterpieces even more meaningful for the mankind.
In his philosophical search for the nature of beauty, Plotinus makes clear distinction between the beauty itself and the nature of beauty, emphasizing that the true nature of beauty is beauty itself (Stamatellos 165). According to Plotinus, comparing objects to each other, people “give relative accounts of beauty and not beauty itself” (Stamatellos 165).
Thus, manifesting beauty as the Divine itself, the nature in its true and only form, Plotinus suggested three levels of reality which beauty is supposed to link into the Universe.
Creating a structure of the cosmos, Plotinus breathes the specific idea into beauty, making it universal and stretching far beyond the boundaries of human imagination. With help of the four-level structure of the universe which Plotinus suggested, the nature of the beautiful became evident: the source of all that makes people gasp in awe is the Divine.
Reminding of the famous Yggdrasil, the tree which linked the Hades, the earth and the Heavens, Plotinus’ system descends from the highest level of communicating the nature of beauty to the lowest one.
Starting from the level of the Divine, which makes the core of beauty in Plotinus’ understanding, the philosopher passes the level of immaterial (level 2), the point at which a human being can approach God and feel the divine touch on his/her soul; concerning the intellectual sphere of people’s lives, the point at which the line between a human and an animal is drawn, it is the very bridge between a man and God, according to Plotinus: ”This beauty is not external, but internal: the inward beauty of the Soul beyond any color, shape, or size” (Stamatellos 87).
In the next level the ideas of the immaterial and the material are combined to create the human being. Uniting body and soul, this sphere makes the basis of human’s existence. Here the beauty principles of the Ancient Greeks are implied, with their concept of the perfection of body and soul. The final fourth level is the beauty of the nature, bare and uncivilized as it is, with the air of the primordial chaos and wildness.
According to the idea of Plotinus, if united, these four levels o beauty will lead to creation of the real masterpiece and to the Divine in it prime form. Passing from one level to the other, the artist will finally see the light of the truth which will inspire him/her with the urge to create and will finally lead to creating a real masterpiece.
In addition, this work will comprise the universal truth and the essence of a human being, which will make it truly cosmic, all-embracing and breathing with the wisdom of the Eternal.
The Concept of the Beautiful That Never Ages
Because of the philosophy which was the foundation of the Lotus Temple, it can be considered a specimen of Plotinus theory of beauty embodied into life. Representing not merely a perfectly built construction, but also a building which breathes with the ideas of the ancient philosopher, this is much more than a construction of metal and concrete.
What stands behind the perfect shape is the ancient concept of the beautiful in its original form. The four levels of beauty can be easily traced in it. The highest one, conveying the idea of the Divine in its true form, is reflected in the lotus blossom which the construction is shaped in. As the Mahabharata says,
Lord Brahma (the creator god) grew from the lotus flower which was growing out of the navel of the protector god, Lord Vishnu. Avalokitesvara, one of the most popular Buddhist beings, is always pictured holding a lotus blossom. (India 73)
Talking about the way in which the creator of the Lotus Temple represented the second level described by Plotinus, it must be mentioned that the philosophy of the intellectual is also concealed in the original shape of the building.
Making people think of the amazing heritage which the Buddhist philosophy leaves to its adepts, it becomes clear that the building embodies the very principles of Buddhism. Reminding of the famous postulates of Buddha and giving a lot of food for thoughts, this building creates the impression of the treasure trove of the Indian philosophy.
The third level, the realm of body and soul, can also be seen clearly in the shape of the building. Since lotus is the flower which symbolizes the triumph and honor, it can be a hint on human’s immortal soul and the reminiscences of glory which stay even when a person dies. Whether it was the peculiar design or the interference of the Divine, the Temple became the place where faith is focused, which makes it reach the level of communicating the principles of spiritual importance:
Like every other Baha’i house of worship, the Lotus Temple is open to anyone for religious worship. Baha’i law states that a house of worship is for people of any faith to come and praise God. (India 73)
The last, but not the least, the fourth level of beauty which refers to the Material is also reflected in the Temple, namely, in the lotus as the symbol of wealth and earthy prosperity (India 73). Comprising the artifacts of the ancient times and the objects which symbolize the Ancient India and its mysterious religion, the Temple represents the final, fourth stage of beauty which concerns the material world.
Thus, it is quite peculiar that the shape of the building could embrace the entire four levels of beauty in Plotinus’ viewpoint. Embracing the entire four levels, the flower which symbolizes India creates the basis of the spiritual value of the construction and breathes life into the ancient legends, making both the tourists and the locals imbued with the meaning of Buddhism and the postulates of Buddha, the Enlightened.
However, it can be argued whether the Temple can represent the beauty in Plotinus’ understanding at all, being made entirely by people, with no divine force intruding into the process of constructing.
Yet the spiritual ideas which lie in the basis of the Temple and the faith which the place is breathing with, its cosmopolitan ideas allowing the people of any religion entering its walls (India 73), crash this supposition in its bud. The Temple represents all the four levels of Plotinus’ concept of beauty, there is no doubt about that.
Works Cited
India. Japan: R.I.C. Publications, 2010. Print.
Stamatellos, Giannis. Plotinus and the Presocratics: A Philosophical Study of Presocratic Influences in Plotinus’ Enneads. Albany, NY: SUNY Press, 2007. Print.
Throughout the history, people have been faced with numerous questions about the universe, the creator, life after death and other fundamental questions that seem to have no definite answers. Consequently, people have turned to arguments that are not based on sight, but rather, on faith and belief.
Different societies exhibit their faith in the sacred realm of the spirit in various ways. Some associate it with gods and goddesses, and others with spirits of ancestors or nature and one God (Sayre 53). While some forms of faith have vanished with the passage of time, others have remained small and local.
Some forms of faith like Christianity and Islam have become significant religions that attract believers from all around the universe. Art has played a vital role in the relationship between human beings and the sacred realm.
It has allowed individuals and groups of individuals to envision, honor and communicate with their sacred realm (Sayre 53). This paper compares two works of architecture that were created to provide a setting to perform rituals of worship and prayer. These are the Sainte-Chapelle, or holy chapel located in Paris, and the Great Mosque at Córdoba, Spain.
The Saint-Chapelle
The holy chapel located in Spain is a spectacle that was commissioned in 1239 by the French king Louis IX. Its purpose was to hold a variety of vital set of relics that the king had obtained. These relics comprised pieces of the True Cross, the Crown of Thorns, and other instruments of Christ’s Passion.
The architects involved in its design created a high vertical space with walls that appeared like stained glass. The light passing through the glass wall forms a glittering effect that alters the interior into a radiant eerie space that creates an impression of the glory of heaven (Papanicolaou 57).
Sainte-Chapelle uses a series of high vertical buttresses that are linked horizontally by iron tie-rods that encircle the building, concealed in the masonry. They pass across the windows as part of the framework supporting the glass. Acquisition of the relics from the emperors of Constantinople was aimed at increasing the religious and political influence of both France and Paris.
The Sainte-Chapelle, which housed the relics, served as a representation of royalty by divine right. The relics were displayed and worshipped in the upper chapel while the lower chapel served as a place of worship for the palace staff. The structure used a basilica-type layout with an arc shaped apse, which served as the model for other Holy chapels (Papanicolaou 58).
The lower chapel comprises a statue of Virgin Mary, a thirteenth century fresco, and struts that connect the aisle columns to the lateral walls. The upper chapel comprises the windows, the statue of saint peter, the great shrine, and the western rose. In the statue of Peter, he is holding the keys to heaven. The twelve pillars represent the harmony of the apostles with the faces of Parisian sculptures of the mid thirteenth century (Wilson 126).
The great mosque at Córdoba
Construction of the great Islamic house of worship started in the eighth century. It formed the largest place of prayer and worship in Western Islam. The interior of the prayer hall has a huge horizontal space that comprises a series of columns and arches. The hall gets its light from the doorways that are situated around the perimeter of the hall.
The light reveals a set of shadows that make the scope and form of the interior difficult to comprehend. The vision is interrupted by irregular red and white sections, as well as, the additional shadows created by the light from oil lamps hanging at the front of the focal point of worship (Khoury 83).
The Cordoba mosque represents a process that links the past and the future as portrayed by al-Hakam al-Mustansir. The mosque is a representation of the Andalusian Umayyad architectural style with a little twist in its style. In addition to its beauty, the mosque marks an era that saw the merging of historical, cultural and mythical paradigms. The mosque formed the link between a dynastic identity and the new caliphal one. Consequently, the Cordoba mosque was rededicated as a monument of Umayyad victory (Khoury 85).
The great Mosque of Cordoba is celebrated for its harmony, balance, incredible use of light and decoration, and its general harmony and artistic sensitivity. The architectural design combines elements of the old, reused and original styles to create a system of arches supported by thin pilasters on marble columns. This and other elements are characteristic of the history of western Islamic architecture (Khoury 86).
Compare and contrast
The two architectural works were developed to create an environment and atmosphere that presented an ideal setting for rituals of prayer and worship. These rituals formed the connection between worldly and heavenly realms. While the Saint-Chapelle is a small, intimate space that was created as a private chapel for King Louis and his court, the Great Mosque at Córdoba in Spain is a massive structure that was developed to serve the needs of the society (Sayre 55).
The architects involved in the design of both the Sainte-Chapelle and the Great Mosque at Córdoba, attempted to build a place for worshipers and believers to converse with the sacred realm. The design of the Sainte-Chapelle was inspired by the development of a beaming vertical space with alterations brought about by colored light. The Great Mosque at Córdoba, on the other hand, was inspired by the creation of a large horizontal space that was characterized by columns, daylight and shadows (Wilson 126).
The architecture of the two buildings represents unique designs that use the elements of space and light to develop a sharp sense of obscurity and marvel. The brilliance of the structures is mainly attributed to their ability to represent their intended meaning.
While the sacred realm was not visible in human sight, the artists were given the responsibility of creating images and representations of gods and goddesses, as well as, angels and other spiritual beings. These representations were required of artists and architects throughout the ages, as seen in the two buildings, which were constructed several centuries apart each other (Wilson 126).
The two sacred buildings in Spain, and other religious images developed in history help to enhance the faith of believers by providing them with tangible forms to the abstract notions. Some representations hold more intricate and mysterious meaning, like in various cultures where the images serve as mediums for the transfer of sacred power.
Some cultures use the images to develop a sense of a dwelling place for a holy being, who can be summoned to the structure through ritual. In conclusion, it can be said that the Sainte-Chapelle and the Great Mosque at Córdoba are two religious structures that utilized different forms and style to develop a sacred realm for the intended individuals and communities (Sayre 57).
Works Cited
Khoury, Nuha. “The Meaning of the Great Mosque of Cordoba in the Tenth Century.” Muqarnas (1996): 13, 80-98. Print.
Papanicolaou, Linda Morey. “Stained glass from the cathedral of tours: The impact of the Sainte-chapelle in the 1240s.” Metropolitan Museum Journal, 15 (1981): 55-66. Print.
Sayre, Henry. A world of Art: themes of art. prentice hall: Upper Saddle River, New Jersey, 2010. Print.
Wilson, Christopher. The Gothic Cathedral: The Architecture of the Great Church. New York: Thames and Hudson, 1990.
Introduction: Into the History of the Ancient Wonder
There is hardly a single person who has never heard of the Pantheon. The dwelling of the Ancient Roman gods, this is a true miracle of architecture. As a matter of fact, the reasons for the Romans to come up with an idea to build a Pantheon for honoring gods are rather peculiar.
If digging a bit deeper into the history, one will be able to find out that the reasons for the creation of one of the most magnificent buildings in the world history was merely the wish to fear of bearing a “debt” to the Ancient Roman gods. According to what Formby says, the construction of the building was the following:
The idea of discharging the debt of honor which the Roman army had accumulated by the building of a temple dedicated to ‘Jupiter Ultor,’ including the honor of Cybele and the gods who have been invited to make Rome their place of abode, whence its remarkable name of Pantheon. (Formby 353)
Marcus Agrippa and His Creation
Though one might have thought that the name of the architect who developed the project and managed to construct the incredible building should have been washed away by the sands of time by now, the author of the artwork is actually well-known.
One of the most prominent architects of the Ancient Rome, Marcus Agrippa is actually known for being a general. Perhaps, these are the ambitions of a general that the Pantheon owes its majestic look to: “the temple of all the gods” (Formby 353), the edifice “formed a most conspicuous object”. (Formby 353).
When It Comes to Details: The Peculiarities of Architecture
Like any other historic and architectural landmark, Pantheon has its unique features and specific elements. To start with, the famous Tor de Schiavi, the Pantheon façade, needs some comments.
Considered “an uncompromised design” (Grasshoff 183), the given element adds to the magnificence of the building and at the same time serves its key function well, i.e., both invites the visitors and represents the essence of the Ancient Roman architecture.
As for the famous triglyphs, as well as metopes, these obviously serve both to emphasize the power and the grandeur of the building (Markman 297). It seems that the entrance to the Pantheon reminds one that this is the realm of gods, not human beings. Embodying steadiness, triglyphs remind of the three whales which the world stands on – it seems that the number of columns in a triglyph was deliberate.
Speaking of other peculiar elements of the Pantheon which are worth mentioning, one must take a closer look at its “horizontal and raking cornices” (Markman 297). With the help of the given element, the whole building seems well-balanced and refined, and its ever single element is in its place.
Another peculiar element of the specific architecture of Pantheon is its dome. Supposed to remind of where gods dwell, it is truly huge and really impressive.
However, it is not the ample size of the dome that strikes architects most; the greatest mystery of all concerning the Pantheon is what the purpose of the stepped rings of the dome is. Indeed, as elements of décor, they look rather organic, yet they are way too unnoticeable at first glance to serve as one of the decorations. According to DuTemple,
Stepped rings act as buttresses for the dome. But some scholars argue that the stepped rings don’t actually support the dome. Some argue that the rings were not built for any structural reasons, but simply because they made the construction easier (DuTemple 39)
The given suggestion is actually a very good point. Indeed, stepped rings do тещ seem an organic continuation of the temple – on the contrary, they seem a somewhat rushed decision. Thus, it can be considered that the only purpose of the stepped rings was to make the work of the architects simpler.
Nevertheless, the construction of the dome seems to have been the focus of the ancient architects. It embodied the place where the ancient gods lived, to begin with. Moreover, the huge size of the dome was also deliberate. As DuTemple explains, it “showed continuity” (53).
However, not only the elements of the Pantheon architecture, but also its location was supposed to have a secret meaning As DuTemple explains, “Even the position of the Pantheon was symbolic” (53). Aligned with the Mausoleum of Augustus, the Pantheon embodies a tribute to the latter (DuTemple 53).
Conclusion: There Is More to It Than Meets the Eye
Therefore, it is clear that the Roman Pantheon is, doubtlessly, one of the greatest artworks ever. Not only embracing the cultural influences of the ancient times and reflecting the then idea of beauty and architectural aesthetics, but also portraying the tastes and beliefs of the Ancient Romans, Pantheon is definitely a landmark of the development of the humankind.
Works Cited
DuTemple, Lesley. The Pantheon. Minneapolis, MN: Twenty-First century Books, 2003. Print.
Formby, Henry. Ancient Rome and Its Connection with the Christian Religion. Whitefish, MN: Kessinger Publishing. 2005. Print.
Grasshoff, Gerd. The Pantheon in Rome. Bern: Book on Demand. 2009. Print.
Markman, Sidney D. Architecture and Urbanization in Colonial Chiapas, Mexico. Washington, DC: Library of Congress. 1984. Print.
Throughout the history of architecture, there are several fascinating projects, structures, and buildings that have remained quite significant. One of these structures is the Ronchamp Chapel in France, designed by Le Corbusier. The building has a long history in terms of events before its construction, architectural design, function, and uniqueness among other related aspects (Virtual Ronchamp 2012). Constructed in the 1950s, the building has continued to attract the attention of people from all walks of life. Why does this happen?
This essay seeks to uncover detailed information about Ronchamp Chapel about its history, function, and architectural design. Additionally, the essay will focus on the building’s influence in the surrounding area as it serves an important function in the lives of many people who dwell in its neighborhood. In understanding its unique design, several aspects will be covered including but not limited to the construction method, materials, and the construction process as perfected by Le Corbusier. Besides describing the physical design of the chapel, the essay will equally find why the architect chose its particular design despite the fact there were other design options to be considered.
In this category, the essay will also cover the most unique facts about Ronchamp Chapel, which are believed to have contributed to the building’s worldwide fame. Lastly, this analysis will explore why the chapel follows the principles of formalism and the reasons that led to the choice of such principles. To achieve this task, the essay is designed and structured in detailed segments, giving concise facts and information about the historic building found in France. This information will be obtained from reputable sources of literature.
Historical Background
Although there are several historical buildings in France, the Ronchamp Chapel is believed to be the latest outside the town of Ronchamp. According to traditional findings, the site was historically known to be the home of a temple for the pagans in the 3rd century B.C. In addition, the hill site, where the chapel stands today was known by Christians as a pilgrimage center during the 4th century A.D (Virtual Ronchamp 2012). During this time, Christians decided to construct a sanctuary, which was widely known for miracles that took place. Importantly, the sanctity and purpose of the hill have been passed on to various generations, remaining a major pilgrimage destination.
The site is also remembered for hosting approximately thirty thousand Germans and Frenchmen as they converged to acknowledge the end of the Franco-Prussian War in September 1873 (Virtual Ronchamp 2012). Due to its historical recognition, several Christians pay its visits throughout the year for pilgrimages. Based on church records, the 13th century saw the completion of the first chapel on the site. A similar church was constructed in one of the villages of Ronchamp in the 18th century. Many Christians foresaw the possibility of emerging confusion especially in differentiating the two churches. It was therefore decided that the first church on the hill be named, Notre Dame du Haut, to distinguish it from the village church in Ronchamp.
In understanding the history of this chapel, it is important to note that several churches stood at the same site before its construction that started in the 1950s. For instance, a Neo-Gothic chapel was constructed during the Second World War, and this was a replacement of the previous chapel, which had been reduced to rubble after a lightning strike in 1913 (Virtual Ronchamp 2012). Nevertheless, the chapel was not to serve its purpose for long before it was destroyed. It joined a list of several buildings in Europe that had been damaged by German artillery during the war. Due to Christians’ attachment to the building, many suggested its repair after the World War.
However, the analysis that was carried out to determine the workability of the proposal revealed that it would be more economical to build a new chapel than to repair the damaged structure. As a result, the construction of a new chapel was commissioned.
After the agreement, the Sacred Art of the Roman Catholic Church was mandated to find the best architect that would design another chapel at the same site. One of the members of the commission was Father Pierre Couturier, a renowned artist who had a history of contracting artists from other backgrounds (Virtual Ronchamp 2012). The commission was therefore awarded to Le Corbusier who firmly rejected the offer. However, Pierre Couturier pursued Le Corbusier, managing to invite him to the site even though he had turned down the offer. Amazingly, Le Corbusier was highly impressed by the site and changed his earlier decision in June 1950. Three years later, the construction of the Ronchamp Chapel was commissioned and completed in 1955, with Le Corbusier as the chief architect of the historic building.
Importantly, the chapel was met with immense criticism from church leaders, other architects, and several members of the public in Ronchamp. To worsen the situation, the building was denied electricity for some time because of the perception that had been created by critics over the chapel. Nonetheless, the Ronchamp Chapel gained popularity and acceptance with time, becoming a historical building throughout the 20th century (Virtual Ronchamp 2012).
The site
Ronchamp is a small town found on the eastern side of France. The city is naturally located between two mountains, the Vosges Mountains towards the northern direction and the Jura Mountains to the south. As a result, the region experiences a damp temperate climate. Like in other parts of Europe, summers are relatively warm, whereas winters are cold.
The exact site of the Chapel is on a hill next to Belfort. The chapel is known to be one of Corbusier’s oeuvre and deviates from his known standards and the overall aesthetic machinery. As mentioned before, the site was too appealing to the architect, Le Corbusier that he changed his mind and accepted the contract (Virtual Ronchamp 2012). While at the site, one can view the entire horizon from the four sides of the hill. The legacy of the chapel requires that the building remains a place of worship for Christians.
The Architect
No description of the Ronchamp Chapel can be complete without the mention of its architect, Le Corbusier. He made architectural history in the 20th century (Pauly 1997, p. 126). He belonged to the Modernist Movement, a writer and a teacher who left some of the structures that are considered to be seminal in the last century. Although he was known to be from France, Le Corbusier was born in Switzerland in 1887 and obtained French citizenship in 1930. He was a popular artist who was uniquely identified by a single name since 1920. He began his architectural work in 1922 when he joined forces with his cousin to establish his design studio (Virtual Ronchamp 2012).
Due to their combined efforts, the duo gained international status in terms of outstanding and professional architectural work. In Paris, Le Corbusier and his cousin played a major role in building villas of international style, with Villa Savoye emerging as their iconic piece of work (Fondation Le Corbusier 1997). Besides architecture, Le Corbusier was a recognized furniture designer, painter, and author, and his work is highly respected in France. He also played a major role in the establishment of Purism.
The structure
The chapel is mostly made of concrete and is considered to be relatively small, surrounded by thick walls, which provide strength and stability to the building. The roof of the chapel is tuned upwards and fully rests on column pillars that are implanted in the concrete walls (Fondation Le Corbusier 1997). The design of the chapel has earned itself a different title from believers who believe that it resembles the ship of God that provides safety and divine salvation for members of the Christian faith. The interior of the chapel is designed in such a way that the clerestory windows occupy the spaces between the concrete walls and the roof.
The walls also have openings, which allow symmetric light and enhance the sanctity of the space and the direct relationship that exists between the building and its neighborhood (Pauly 1997, p. 127). The interior of the building further has soft indirect lighting, emanating from clerestory windows and the reflection created by whitewashed walls. As mentioned before, the Ronchamp Chapel is built of concrete and stones. These materials were principally obtained from the debris, which was collected after the destruction of the first chapel that was consumed by the wrath of the Second World War. Due to its uniqueness in terms of architectural design, the building has been described in several ways. It has been referred to as an example of post-modern architecture even though it was completed in the 1950s (Fondation Le Corbusier 1997).
Structural design
The Ronchamp Chapel consists of two major parts, concrete membranes, which have a space of 2.26 meters between them. This space forms a shell-like shape that is part of the building’s roofing system. It is worth noting that the roof of the chapel is designed in such a way that it is water-tight and insulating to provide the desired conditions in the church (Fondation Le Corbusier 1997). This roof is supported by struts, forming a vertical concrete slab that is coated with gunite. The struts also provide support to walls that were constructed with stones obtained from the remnants of the initial chapel that was destroyed. Another important feature of the walls is that they do not have buttresses and have a curvilinear shape whose main purpose is to provide enough stability to the characteristic rough masonry of the building (Pauly 1997, p. 126).
In ensuring that the building is treated with perfect daylight, the roof shell and walls are separated with a few centimeters of space. About the topography of the surrounding, the floor of the Ronchamp Chapel takes the natural slope of the hill on which it is built. The design of the floor is determined by the Modulor and is constructed with cement as the main material (Fondation Le Corbusier 1997). In addition, the altars of the chapel are designed with the beauty that gives the church a fascinating interior and exterior outlook. On the other hand, the towers were mainly designed using durable stones and have cement domes caps to give them a better finish. The vertical walls and other elements of the chapel have a mortar surface and are whitewashed (Stoller 1999, p. 7).
To achieve a watertight interior, the roof is designed with built-up roofing that allows aluminum finishing to the outside. In other words, the aluminum provides a secure way of ensuring that no water penetrates the interior of the chapel through the roofing system. As indicated earlier, the interior’s beauty is well captured through the blending of colors and proper finishing (Virtual Ronchamp 2012). For instance, the interior part of the structure has white walls while the ceiling is dominated by unfinished grey concrete that gives it a unique appearance. Besides these, the floor is purely made of cement and stones while the benches, which were designed by Savina, are made of wood from Africa. Inside the chapel, there is an iron communion bench which was developed by the Foundries from Lure (Stoller 1999, p. 8).
Even though several openings in the walls of the chapel are designed to permit daylight, they are smartly covered with clear glass. This helps in promoting the natural appearance of the building from its interior (Virtual Ronchamp 2012). However, some of the glasses are colored to allow the blending of colors that provide an attractive appearance to the eyes. It is therefore important to emphasize that the colored glasses do not indicate stains, the architect considered the illumination as a form of old architectural techniques that were mainly old and associated with Romanesque and Gothic art. Through these colored glasses, one can see what is happening within the chapel’s environment, including clouds, passers-by and even moving vegetation (Kroll 2010).
Another important aspect of the interior of the building is the variation in the painting color, where red and violet was used for decoration (Gargiani & Rosellini 2011, p. 126). For example, one of the interior walls is painted using intense red paint while the other wall that gives way to the sacristy is violet in color. Moreover, the chapel has a main door that is used for procession ceremonies. The door is 9m2 in size and it is located in the middle of the building, with both surfaces coated with panels of steel designed in different colors at a temperature of 760oC (Virtual Ronchamp 2012). At the time of its completion, the building was historically recognized for having incorporated this architectural design on the procession door.
Likewise, the other door that opens towards the platform to the east of the chapel is designed to be used during open-air functions. This door is made of cast concrete and has a bronze handle that is useful when opening and closing it. Like other structures designed by Le Corbusier, the Ronchamp Chapel has the Modulor layout that allows the reduction of its dimensions without being noticed (Kroll 2010). In other words, this ridiculous reduction can be done in such a manner that no spectator would have any suspicion.
Another important feature of the chapel’s surroundings is the presence of unused stones. These stones were part of the materials that were retrieved after the first chapel was destroyed during the Second World War. Christians agreed not to dispose of the stones but to pile them in form of a pyramid around the perimeter of the grassed region (Kroll 2010).
The southern wall
The southern wall of Ronchamp Chapel can simply be described as an independent creature. Although many would have expected the architect to construct a straight 50 cm piece of work, he concentrated on the outside, ensuring total perfection (Moffett, Fazio & Wodehouse 2003, p. 529). In his efforts to decorate the chapel, he designed a wall whose starting point is on the eastern side of the building and extends to the western side by ten feet.
Additionally, this wall does not extend in a straight manner but curves towards the southern direction. Besides this uniqueness of the wall and its expansion, the architect equally designed extraordinary windows, making his approach more complex. The strangeness of these openings lies in the fact that they incline towards the central points at different angles. Due to this slanting design, the light gets into the chapel at varying degrees, thus making it more appealing. In addition, the windows are closed with glasses, which are placed at different depths. As a way of maintaining the history of the site and the previous church, the architect chose to fill the inner side of the wall with rubble (Moffett, Fazio & Wodehouse 2003, p. 529).
Although the glass used is commonly clear, stained glasses are sometimes used to improve its appearance. Yellow, red, and green are some of the colors that are considered to have been liked by Le Corbusier. Apart from decorative purposes, stained glasses have properties, which allow them to radiate light. This feature is common among precious stones like emeralds, rubies, and amethysts. They, therefore, serve as jewels on the famous wall.
From this design of the wall, many expected the architect to have the southern portion made into a bearing wall (Moffett, Fazio & Wodehouse 2003, p. 529). Nevertheless, the concrete columns offer sufficient support to the roof, appearing to float over the space. To the inside of the wall, the architect decided to enhance symbolism by filling it with unused debris collected. This was to sustain the history of the old church and the site for worshippers who visit the building to remember past events and efforts to have a worship center on the building.
Furnishings
During its construction, the stained glasses were immensely used to give the walls a beautiful finish with some of the glasses designed with a thickness of ten feet. The chapel is mostly used for pilgrimage worship functions (Kroll 2010). This, therefore, implies that the chapel receives a few people during most parts of the year. However, the chapel registers mammoth crowds during special feast occasions.
To accommodate these people, Le Corbusier designed an outside alter together with a pulpit to allow other people to be at the top of the hill when the services are going on. Virgin Mary’s statue is enclosed in a glass cover and is positioned depending on where the worshippers are seated, say, outside or inside. It is worth noting that the statue was not designed by Le Corbusier, but was rescued from the chapel that was destroyed during World War II (Chapel of Nôtre Dame du Haut 2011).
The roof
It is considered the most fascinating part of the chapel, with its curved shape peeling towards the sky. With its shape, the roof is seen to float on the rest of the building even though it is supported by concrete columns, which are firmly embedded in the walls (Gargiani & Rosellini 2011, p. 126). The roof is viewed as part of the mechanized influence in the design of the building, which remains an architectural icon. The curvature on the roof fully imitates the wings of an airplane. As a result, the chapel’s designs, heavy qualities, and materials do not make it heavier but weightless.
Analysis
As a person who didn’t proclaim his faith publicly, it is believed that his first rejection to design the chapel was based on his attitude towards Catholics. Although it was not revealed to many, Le Corbusier’s design of the chapel was a clear representation of the relationship between the Virgin Mary and the church (Flora 1999, p. 408). He purposed to make the connection between the body of Mary and the building. It has also been noted that the design of the chapel resembles Neolithic mortuary sculptures. He demonstrates his passion for primitive art and association with France. He pursued imagery as he continued working on the chapel.
For instance, the architect built a church cistern at the top of the hill after there was a shortage of water. Additionally, the curving of the walls of the chapel could symbolize a pregnant woman. Even though the chapel has an outstanding reputation in terms of its architectural design, it was an easy task for Le Corbusier (Flora 1999, p. 409).
Notably, there are several factors, which influenced Le Corbusier in deciding the best design for the chapel. However, the terrain and topography at the top of the hill were quite appealing. He immediately accepted to work on the chapel after surveying the site (Flora 1999, p. 409). Additionally, his decision was based on his mindset and perception of religion. As a man who did not proclaim his faith publicly, it is doubtless that his understanding of the catholic faith was influential.
The uniqueness of the building emanates from its design and construction. Of great concern is the roof of the chapel, which appears to mimic the shape of a plane’s wing. Although it may be assumed that the Ronchamp Chapel is daily used like normal churches, the building is mainly used during pilgrimage ceremonies, when it hosts several people from all walks of life (Alford 1958, p. 293). The building has also influenced the people within its neighborhood.
For centuries, the hill has remained a place of worship for Christians and the chapel is highly revered. It has therefore promoted the growth of Christianity with special reference to the catholic faith. Besides promoting the Christian faith, the Ronchamp chapel is a historic building, reminding people of the impact of World War II. This is based on the fact that the chapel was constructed after the first one was destroyed beyond repair. The presence of some of the rubble in the temple further confirms how the structure connects people to historic events (Alford 1958, p. 293).
Conclusion
From the above analysis, it is clear that the Ronchamp Chapel is a significant building in the history of architecture. Its description cannot however be completed without giving credit to its chief architect, Le Corbusier. Located in Haute-Saône, France, the building is affiliated to the Roman Catholics and it is mainly used as a pilgrimage chapel. From the roof to the floor, the design of the building remains amazing (Chapel of Nôtre Dame du Haut 2011). The building also has a historic attachment, having in mind that it was built after the destruction of another chapel at the same site during WWII. Though the building is over fifty years old, it remains an iconic religious architecture of the 20th century.
References
Alford, J 1958, ‘Creativity and Intelligibility in Le Corbusier’s Chapel at Ronchamp,’ The Journal of Aesthetics and Art Criticism, vol. 16, no. 3, pp. 293-305.
Flora, S 1999, ‘The Representation of Mary in the Architecture of Le Corbusier’s Chapel at Ronchamp,’ Church History, vol. 68 no. 2, pp. 398-416.
Fondation Le Corbusier 1997. Web.
Gargiani, R & Rosellini, A 2011, Le Corbusier: Beton Brut and Ineffable Space (1940-1965): Surface Materials and Psychophysiology of Vision, EPFL Press, Lausanne, Switzerland.
The Dome of the Rock and the Umayyad Mosque of Damascus are two of the most iconic mosques in the Islamic world. Both are considered masterpieces of Islamic architecture and are important pilgrimage sites for Muslims. This essay compares and contrasts the Dome of the Rock and the Umayyad Mosque of Damascus regarding the interior and exterior features and holiness significance. Additionally, it discusses a brief history, the importance of the two structures, and how they have changed over time.
History and Significance of the Dome of the Rock
The Dome of the Rock is a historic site in the Old City of Jerusalem. Amraei et al. (2019) state that the Dome is the oldest extant Islamic monument and one of the most significant religious buildings worldwide. The structure was completed in 691 CE, making it one of the oldest surviving examples of Islamic architecture. The Dome of the Rock is significant for several reasons. Firstly, it is one of the earliest examples of Islamic architecture and provides insight into the development of this style of architecture. Secondly, the Dome of the Rock is located in the Old City of Jerusalem, a sacred site for Christians, Muslims, and Jews. This makes the Dome of the Rock a symbol of religious tolerance and coexistence. Finally, the Dome of the Rock is a reminder of the rich history and culture of the Islamic world.
History and Significance of the Umayyad Mosque of Damascus
The Umayyad Mosque of Damascus is also one of the world’s oldest and most significant mosques. Huzaifa (2021) states that many Muslims consider the mosque the fourth-holiest site in Islam, after Mecca, Medina, and Jerusalem. The mosque was built in the early 8th century by the Umayyad Caliph Al-Walid I and has been expanded and renovated several times throughout its history. The Umayyad Mosque is significant not only for its age and historical importance but also for its architectural and artistic features. The mosque was built in the traditional Islamic style, with a large central courtyard and a massive prayer hall covered by a gigantic dome (Leal, 2020). The mosque is also home to some important artwork, including a 13th-century-stained glass window and several important Islamic manuscripts. The Umayyad Mosque is one of the world’s most influential Islamic historical and religious sites. It is a must-see for anyone interested in the history and culture of Islam.
Interior of the Two Structures
The Dome of the Rock and the Umayyad Mosque in Damascus are two of the world’s most iconic and recognizable Islamic architectural sites. Both are renowned for their beautiful mosaic patterns, which are integral to each structure’s overall design. There are a few key ways in which the mosaic patterns of these two buildings differ. For one, the Dome of the Rock features geometric patterns exclusively, while the Umayyad Mosque incorporates geometric and figurative elements into its mosaics. Additionally, the colors used in the Dome of the Rock’s mosaics are generally brighter and more vibrant than those used in the Umayyad Mosque’s mosaics, which tend to be more subdued. Despite these differences, the mosaic patterns of these two buildings share several similarities. Both are highly intricate and detailed, and each uses a variety of colors to create a visually stunning effect. Photos 1 and 2 below show the interior structures of the two structures.
Figure 1: Interior of the Umayyad Mosque in Damascus (Ellison, n.d.).Figure 2: Interior of the Dome of the Rock (Macaulay, 2019).
Exterior of the Two Structures
The Dome of the Rock and the Umayyad Mosque of Damascus are examples of early Islamic architecture. Both buildings were constructed in the 7th and 8th centuries CE and feature a large central dome. However, the two buildings have several key differences; for instance, the Dome of the Rock is an elementary building, while the Umayyad Mosque is much more ornate. The Dome of the Rock is located in Jerusalem, on the site of the former Jewish Temple. It was built by the Umayyad caliph Abd al-Malik and is considered the first Islamic monument. The building is octagonal, and its central Dome is decorated with Quranic verses. The Umayyad Mosque of Damascus is the largest in Syria. It was built by the Umayyad caliph al-Walid and featured a large courtyard and a rectangular prayer hall.
The mosque’s central Dome is much more gigantic than the Dome of the Rock and is supported by a series of arches. Both buildings are significant examples of early Islamic architecture. However, the Dome of the Rock is more closely associated with the religious history of Islam. At the same time, the Umayyad Mosque of Damascus is more representative of the early Islamic political power. The layout of the two buildings is also different, with the Dome of the Rock having a more centralized and symmetrical design. The below photos, 3 and 4 show the exterior view of the two buildings.
Figure 3: Exterior of the Dome of the Rock (Macaulay, 2015)Figure 4: Exterior of the Umayyad Mosque of Damascus (Ellison, n.d.)
Holiness Interior of the Two Structures
There are many similarities between the Dome of the Rock and the Umayyad Mosque in Damascus, both in terms of their physical appearance and religious significance. Both buildings are considered to be highly holy by Muslims, and both are said to contain the remains of important religious figures. The Dome of the Rock contains the spot where the Prophet Muhammad ascended to heaven, and the Umayyad Mosque is said to contain the head of John the Baptist. These figures are significant in Islam, and their remains are considered holy. Because of their shared religious significance, the Dome of the Rock and the Umayyad Mosque are places of great pilgrimage for Muslims.
Many Muslims visit both places to pray and pay their respects to the crucial figures buried there. The similarities between the Dome of the Rock and the Umayyad Mosque highlight the importance of holiness in Islam. Both buildings are beautiful and impressive, but their religious significance makes them special. For Muslims, these two places are some of the holiest sites in the world, and they are places that offer perfect peace and comfort.
How the Two Key Islamic Structures Changed Over Time
The Dome of the Rock has undergone many changes over the centuries, as it has been damaged and rebuilt several times. The first significant change to the Dome of the Rock occurred in 688 AD when the Umayyad caliph ‘Abd al-Malik ordered its construction (Macaulay (2015). The Dome was built to commemorate the site of the Prophet’s ascension and to serve as a shrine for pilgrims. In 1099 AD, the Crusaders captured the Dome of the Rock and turned it into a church. Crusaders held onto the Dome for almost a century until it was recaptured by Muslims in 1187 AD. After being under Muslim control for a few centuries, the Dome of the Rock was again captured by the Crusaders in 1244 AD (Macaulay, 2015). However, they could only hold onto it for a few months before the Muslims recaptured it.
In 1517 AD, the Ottoman Empire conquered Jerusalem, and the Dome of the Rock came under Ottoman rule. The Ottomans made some minor changes to the Dome, such as adding a crescent to the top of the Dome to symbolize their Muslim faith (Macaulay, 2015). The Dome of the Rock has undergone many changes over the centuries. Today, it remains an important religious site for Muslims and a symbol of the city of Jerusalem.
In my opinion, the Umayyad Mosque of Damascus is a beautiful and historic mosque that has been through many changes over the centuries. According to Ali (2022), the mosque was first built in the 8th century by the Umayyad caliph Al-Walid I. It was initially built as a small, simple structure with a single minaret. Over the years, the mosque has been expanded and renovated many times. The most significant changes were made in the 12th century when the Seljuk ruler Nur ad-Din rebuilt the mosque. The mosque was expanded and embellished, and a second minaret was added. In the 14th century, it was again expanded and renovated by the Mamluk sultan Al-Nasir. The mosque was enlarged and decorated with beautiful mosaics and Islamic calligraphy (Macaulay, 2019). Today, it is one of the most important and beautiful mosques in the Islamic world, and visiting the structures is fascinating.
Conclusion
In conclusion, the Dome of the Rock and the Umayyad Mosque of Damascus are significant Islamic buildings. They serve as mosques, and both were built during the Umayyad period. However, the Dome of the Rock is much older than the Umayyad Mosque of Damascus. The Dome of the Rock is also located in Jerusalem, a holy city for Muslims, while the Umayyad Mosque is located in Damascus, which is not considered a holy city. The Dome of the Rock was built on the site of the former Jewish Temple, while the Umayyad Mosque was not built on a binding site.
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Ellison, M. (n.d.). Umayyad Mosque, Damascus. Flickr.Web.
Huzaifa, A. (2021). Umayyad Mosque. IslamicLandmarks. Web.