Universal Sacred Space; An Unconventional Critique

Universal Sacred Space; A Vision for Harmony.

When John F. Kennedy gave his Commencement Address at American University in 1963 in reference to the human link between the U.S.S.R. and Communism and America he said “We all breathe the same air. We all cherish our children’s future. And we are all mortal.”

In preparation for this profile, while discussing with my fellow group member, this quote seemed to come back to me time and again. Mary and I took much inspiration from the quote and felt it best embodied the philosophies behind our design.

A sacred space is not only a place of worship, but a place of respect, solitude, sorrow, and joy. The history behind a temple or chapel says just as much about the structure as its image and its present caretakers. Given these characteristics we wanted to have a Universal Space with No History, No Caretakers, and No Owners.

To represent not only Universal Faith but also Universal Respect is difficult when the structure or space must have a chosen, man-made scheme, an un-natural or in-organic architecture. In consideration, Mary and I decided our Universal Sacred Space would be exactly that, a space in nature.

When reflecting, I came to realize that not only do we all breathe the same air, and we all respect that air, but we stand in awe at the sheer force and depth of Mother Nature. This Earth we inhabit together is our common link, and undoubtedly should be the centerpiece of a Universal Sacred Space.

In this Universal Space would be nothing but natural objects - neutral objects one could say. This overly simplified plan is not a foray into political correctness or merely a consignment of good will to all faiths, but a much needed and long overdue rationalization of what worship is and how we as human beings should interpret it.

A simple elegant spiral of slate based on the Golden Proportion, placed on the breast of a grassy hill, surrounded by 100 year Oaks and Maples. Or possibly a circle and triangle of large boulders nestled between two ridges on a butte in the arid plains. Both could be placed in reference to the summer or winter Solstice, an archaic throwback to our Pagan and Ancient perceptions of spirituality. Or not. The point is the common thread that weaves this complex tapestry of cultures and religions we have here is Mother Nature: Earth and all her beauty.

In these circumstances, could not any idyllic, or not-so-idyllic, space outdoors be determined a Universal Sacred Space? One seems to thinks so, and Mary and I would agree, not because any building or man made structure is not worthy of being deemed Universal or because of some pre-conceived notion of ‘Nature's All-Importance,’ but simply because it is all we have left to share together. We all breathe the same air, we all cherish our children’s future, and we are all mortal Sons and Daughters of this Earth.

Ryan C. & Mary C.

Profile of a Sacred Place: Shrine to Vairocana Buddha

Mary Caraway

Profile of a Sacred Place: Shrine to Vairocana Buddha

The Shrine to Vairocana Buddha is carved into the Longmen’s Grottoes in central China’s Henan province located south of the western cliffs. It is the largest among all the Grottoes of Longmen. The word Vairocana carries the meaning of illuminating all things in the sutra. Carved from a limestone hill in 676 AD during the Tang Dynasty, the Vairocana Buddha sits over 17 meters high and over six feet in length. Unlike the textbook that mentions the statue as being male, most articles regarding the shrine perceive the statue as a mature woman deserving respect. The Shrine to Vairocana Buddha was constructed entirely based on the Buddhist religion, and represents a large part of Chinese art during this timeframe.
The Vairocana Buddha is the central focus in the Fengxian Temple Grotto, however, she is flanked on either side with Bodhisattvas, warriors, and heaven lords which compliment the utter beauty of this massive statue. The face of the Vairocana Buddha is said to hold a resemblance to Wu Zetian, the Tang Dynasty empress who aided the completion of the construction with her own money. The Vairocana Buddha statue is often referred to as the Chinese Mona Lisa, Venus, or Mother of China. Her face is kind, and though the size of the statue itself is intimidating, her appearance embraces tourists and worshippers. Her gentle face and comely appeal often remind them of the only reigning female in the history of China, Wu Zetian, which puts them at ease.
Having the shrine constructed out in the open into the side of a mountain allows for anyone to be able to appreciate the serenity of the Vairocana Buddha. The natural surroundings of the shrine also provide a peaceful atmosphere in which to worship, or simply observe this magnificent piece of art. Over the years the statues of the Fengxian Temple Grotto have succumbed to the harsh elements of Mother Nature, but much of the shrine has been well cared for.
The majority of people who travel to the Longmen Grottoes, specifically the Fengxian Temple do so to worship Buddhism and Empress Wu Zetian. Many worship her for her leadership in 690 AD when she established the Zhou Dynasty, which resulted in a better gender equality during the Tang Dynasty. Nonetheless, these grottoes also portray the political, economical, and cultural lives in ancient China. For over 500 years, the Longmen Grottoes have been the destination sites of pilgrimages, which have been visited by foreign and domestic dignitaries who left tributes and donations to assist in the upkeep of the shrines. The Longmen Grottoes have been listed as a World Cultural Heritage Site in 2000 by UNESCO, which has also made contributions to keep this monumental work of Chinese art beautiful.

http://en.hnta.cn/Htmls/Scenic/Scenic_209.shtml
http://www.orientalarchitecture.com/china/luoyang/longmen.php
http://english.peopledaily.com.cn/200406/15/eng20040615_146413.html

Ryan's Profile of a Sacred Space; the Acropolis and Parthenon

The Hellenic Ministry of Culture and Tourism in Greece, describes the Acropolis as “The greatest and finest sanctuary of ancient Athens, dedicated primarily to its patron, the goddess Athena, dominates the centre of the modern city from the rocky crag known as the Acropolis” A humble homage at the least, it is not only the greatest and finest of ancient Athens but arguably the greatest and most influential of the ancient World.

During the 8^th century B.C. the entire Acropolis became a sacred precinct, a forbidden city of sorts, under the control of the cult of Athena Polias. The temple of the cult was on the Northeast side of the hill, and during the mid 6^th century the Acropolis was established as the site of the cities greatest religious festival, the Panathinaia. Not long after its first monument was constructed the “Old temple”; and then the Hekatompedos the precursor to the Parthenon was erected, both in honor of Athena.

In 490 B.C. the Athenians defeated the Persians in the legendary battle of Marathon, and begun construction on the Pre-Parthenon a very large temple atop the Acropolis. This temple was unfinished when the Persians returned to Attica in 480 B.C. and was ultimately destroyed when the invaders set fire to the Acropolis.

Under the rule of Perikles, in the height of Greek power, during the Mid 5^th century B.C., the Acropolis was the seat of the Athenian League, and during this time is when the three main structures partly standing today, and the temple of Athena Nike were built. The Ministry of Culture of Greece describes its composition during this time elegantly; “the temples on the north side of the Acropolis housed primarily the earlier Athenian cults and those of the Olympian gods, while the southern part of the Acropolis was dedicated to the cult of Athena in her many qualities: as Polias (patron of the city), Parthenos, Pallas, Promachos (goddess of war), Ergane (goddess of manual labour) and Nike (Victory).”

The Acropolis and the Parthenon in particular, faced destruction and control from various nations in the centuries after the fall of the ancient Greek city states, and was also under control of the Catholic Church after the 6^th century A.D., when the temples were renamed after Christian history.

Greek classical architecture and its elements are undoubtedly the most influential characteristic of architectural development. The further examination of this site, The Acropolis, and its components, i.e. The Parthenon, presents almost all examples of the classical Greek architecture elements.

The Acropolis was originally a fortified sanctuary, but slowly over time it faced much adversity and transformation, especially after the Persian invasion, and Dark Ages, and the front view of the Acropolis, Picture 1, is most commonly misrepresented as the front of The Parthenon. But actually the Acropolis is the entire three hectares of flat rock, protruding high above, chosen to protect its structures and represent power and order. The Acropolis has three main structures remaining in ruins, one being the Parthenon, the Propylaea, and Erechtheion, all of which are fundamental components of classical architecture.

The Parthenon is compromised of closely spaced Doric columns and is a simple arrangement but is meant to symbolize power and hierarchy. It is believed to have been constructed between 447-436 B.C. See Picture 1.

The Erechtheion is an intricate temple built near the Old temple of Athena. The main structure consists of Ionic columns but a small porch which extends over the Old Athena site has 6 Caryatid columns (female figures draped in cloth), with 4 figures framing the primary elevation of the porch. See Picture 2.

The Propylaea forms the entrance to the Acropolis and has both Doric and Ionic columns, and the building is tripartite in scheme with a base, colonnade and top. The tripartite scheme is based on the human form of a bottom, mid, and top half, and is considered anthropomorphic, (expression of human attributes to non-human objects). See Picture 3.

To understand these three structures, most importantly the Parthenon and the Acropolis as a whole one must understand the structural components and ornament of Greek architecture. The building structure is comprised of the Greek Doric Order which consists of the base platform and steps, the colonnade, and the entablature with pediment. (The Tripartite scheme) The top step which forms the platform is the stylobate. The lintels (horizontal columns resting) which form a horizontal zone resting on their column capitals (tops) is the architrave. The next segment, the frieze, is a horizontal zone which usually contains ornamental figures or motifs. This is topped with the cornice which is the base of the pediment.

Ryan's Museum Visit; Nasher Sculpture Center.

Paul Gauguin’s Tahitian Girl ca. 1896:

In honor of my groups namesake, and much to my girlfriend and fellow museum visitors chagrin, I decided to do my analysis on a Paul Gauguin piece, from his time in Tahiti.(Although I very much wanted to do the below mentioned Walking to The Sky Borofsky installation!) Tahitian Girl is one of two Gauguin works at the Nasher Sculpture Center, the other a clay sculpture, and is a little over 37” tall.

Paul Gauguin left his native France for Tahiti, in search of a life untouched by modernity. While there he experimented in carving wood, clay sculpting, and continued painting, and created Tahitian Girl ca. 1896, created from two separate but conjoined wood carvings. The Head, and Torso are conjoined by a small metal bracket on the back and the seam is covered by a felt necklace. The necklace includes a mother-of-pearl amulet, a braid, and a small pink shell.

What interested me most, and certainly first, about this piece was that of the two conjoined but very much different wood carvings. The Head is a smooth, well proportioned, but oversized contrast to the more rough or coarse body. The stern stare in the eyes of the head piece, also seem to give a different tone than the relaxed, slightly limp body form. One notices fairly quickly these night and day differences, but after more analysis the head and chin angle, not just the eyes, seem to also command this proud quality; where as the body is much more laid back of sorts, possibly timid.

Gauguin expressed a slightly more organic, ‘quick handed’ of sorts style, with visible ‘shavings’ left un-finished, guiding faint highlights and shadows in and throughout the torso, arms, and legs; Thus contributing to the already hodge-podge nature of the work. As stated, the un-finished shavings, guide interesting highlights and shadows in the body form, but the head (in person really) has a much more polished nature to it. The head has no visible cut, or chisel lines, conveying a more tedious carving process.

Upon close inspection the felt necklace is nailed right above the shoulders, a crude covering job, suggesting all together maybe Gauguin felt the more contrasting and misplaced the two pieces seemed the better. I agree, what I enjoy most about the piece is its eerie, almost creepy presence, and questionable nature from the apparent separate and unrelated, Head and Body parts. It has a mysterious archaic character to it, but making it all the more enjoyable being made in the 1890’s.

The Tahitian Girl also seems to embody Gauguin’s own experience in his getaway. Tahiti was not untouched like Gauguin envisioned, linked by industrial might, like the metal column linking the piece, a Tahitian woman head-strong, proud, and beautiful, but still very much native, rough, and uncertain. Or maybe after 500 words, I’ve gone off track, (the latter is more likely). Although after considering all of the above, I wonder if Gauguin intended the two separate pieces for each other all along, or in a fit of inspiration grabbed a bracket and some nails.

Can you tell who is who? Haha

Paragone Discussion;

As a group we agreed that in many ways Leonardo's argument holds merit, being that painting often utilizes complex color and lighting schemes, but it is not flawless. Painters as well all know can get just as dirty as sculptors, having said that sculpting doesn't necessarily involve the monotonous chisel chipping of marble as described by Leonardo's Paragone. But these are unimportant, in ones perspective no artwork or style thereof can be considered superior, one could argue its difficulty or complexity, but this is not a determining factor.

Representing textures, form, style, on canvas or on stone, is no different, yes there are unique factors to each but neither requires vaster knowledge or a more skilled artist. The group entirely agreed that representing three-dimensional forms in two-dimensions is in theory more complex than sculpting. But that is like star gazing through your front door peep hole, you are not getting the whole picture.

The Paragone was a very thought provoking dialog, although a seemingly simple if not elementary topic, there is much to be said in ones reasoning. After this discussion and the previous assignment, I and my group members have learned, that when evaluating or interpreting art, the medium or style is about as meaningless as the creator in how it interacts with the viewer. With such a conclusion one makes it hard to advocate one form over another. Leonardo is not wrong in his argument, he just isn't entirely right.

Ryan C. (Tech Expert/Writer)

Mary C. (Communicator/Contributor)

Richard P. (Contributor)

Richard's 'Road' Perspective

For this drawing I simply chose the foreground to 

consist of closer things such as buildings, roads, 

etc, while the sun and sky makes up the background. 

The subject shown in the foreground and in the 

distance mainly is  the road and single building to 

give an idea of the perspective. The vanishing point

was the center right between the sun and road to show

distance throughout.

Ryan's 'Buddha' Soap Sculpture

Unfortunately I pre-saved this image from my home pc, and cant seem to find out how to rotate it on this UTA pc. Please forgive me :). I started out with my Ivory soap bar, and after determining it lacked the thickness to carve a polar bear...I decided on Buddha! I used a small statue for reference, and made my initial cuts on the face with a taught guitar string, to help determine my boundaries. Then used an X-Acto knife to make more precise cuts, but the best tool was the blunt end of a calligraphy pen, which smoothly 'shaved' off soap allowing for a more accurate carving.

Mary's 'Farm' One Point Perspective

When you drive out West where there is lots of open land, you come across many fields of corn, wheat, and cotton. I have sketched my interpretation of the many trips I have taken where I have seen these fields. I have incorporated the aerial perspective with the hills beyond the fields. The large farm building is in the foreground as well as the background, and almost everything comes to one specific point, which is my vanishing point.

Where Do We Come From What Are We Doing Where Are We Going (1897)

This painting addressed Paul's vast imagination of the creation of man, and his origin, considered to be his most famous piece, it was painted in 1897 and 1898, one of his later pieces. All of the figures are Tahitian, after he moved there in search of a more cultured, less privileged society. It was on of his introspective paintings he considered "to be his masterpiece and the summation of his ideas." The work is meant to be read from the Left to the Right like text, ending with the baby at the far right signifying new born life. The black figure of unknown gender facing away, is interpreted to be mans first queries of sex. The two apple eating figures, male and female, are thought to be a representation of Adam and Eve.

Vision After the Sermon (1888)

Originally a gift to a local church, in Nizon, but the church would not accept it. Gauguin carried the woman featured in the Breton Women over to Vision After the Sermon, and Paul had refined his Cloisonissm style which he had imported from his friend and painter Emile Bernard. The questionable meaning of the painting was the reason for the church's disapprovals and Paul's not so loyal history. Paul believed the simplistic geometries better interpreted emotions, rather than complex more realistic representations. Giving way to many influences beyond Modernism, into Cubism and Orphism.

Le Christ jaune 1889 (The Yellow Christ)

Considered to be a extremely important Cloisonnism painting, a post-impressionist style marked by bold & flat forms separated by dark contours, is significant for its use of simplistic color and perspective. The thick lines separating the forms and colors, this along with the lack of gradients of color or tones gives the painting its post-renaissance style. This was also represented by the flat forms, and the lack of traditional linear perspective. Modernism is considered to have derived from this style, most notably from this painting.

Eugène Henri Paul Gauguin: (7 June 1848 – 8 May 1903)

Paul Gauguin, born in Paris, France to Clovis Gauguin and half-Peruvian mother Aline Maria Chazal. The domestic affairs of France drove Paul and his family to his mothers native Peru, in Lima Paul's influences flourished. Eventually Paul moved back to France, Orleans specifically where he joined the military to fulfill his mandatory service, after returning to Paris he took a job in the financial trading industry. In 1873 he married Mette Sophie Gad, with whom he had 5 children over the following decade.

Through his acquaintance with Camille Pissaro in the early 1880's, Paul painted with Paul Cezanne and had since quit his stock trading to paint full-time. Through earlier influences by Cezanne and a distaste for modern Impressionist art, Gauguin took on the style of Post-Impressionism. His friend Vincent van Gogh, whom he met in 1888 helped give way to his style, one that he felt had much needed symbolism. In 1903 Paul was sentenced to three months jail time and a fine, by the church and state, he died of syphilis before the sentence began.