Jump to content

User:Asimsky/Regional Reference Frame Sub-Commission for Europe

From Wikipedia, the free encyclopedia
< User:Asimsky
This is an old revision of this page, as edited by Asimsky (talk | contribs) at 06:30, 29 October 2012 (→Transfer of sacred spaces Brian's version). The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

Hierotopy (from Template:Lang-grc, sacred + Template:Lang-grc, place, space) is concerned with the creation of sacred spaces viewed as a special form of human creativity. It also designates a related academic field where specific examples of such creativity are studied. The concept and the term were developed in 2001 by Russian art-historian and byzantinist Alexei Lidov[1]. Hierotopy accounts for the ways in which a vast array of media (e.g. religious images, ritual, song, incense, light) are used to organize sacred spaces. As an academic field, it spans the disciplines of art history, archeology, cultural anthropology, ethnology and religious studies, but it possesses an object of study and a methodology of its own. It differs from the phenomenology of the sacred (which has been studied by Mircea Eliade, Rudolf Otto and Pavel Florensky)insofar as it focuses on historical examples of hierotopical projects, that is, projects establishing a medium of communication between the mundane and the sacred. Though related with religious mysticism, hierotopy deals first and foremost with forms of conscious, creative activity.

According to the hierotopic approach, icons and other sacred artifacts are viewed not as isolated objects, but as components of larger hierotopical projects. Though such artifacts often play a prominent role in hierotopical studies, it is these projects themselves – including both their conceptual and artistic aspects, as well as the historical developments leading to their formation – that are the primary focus of study. The role played by the creators of sacred space is also of chief importance, and could be compared with that of an artist. The creative element at work here resembles the work of contemporary film directors, for both involve the coordinated effort of various artists and specialists in shaping a single, comprehensive vision[2]. As examples of such projects, one can consider King Solomon's construction of the Temple, the erection of Hagia Sophia by Emperor Justinian, as well as the work of Abbot Suger in the conception of first Gothic cathedrals. Hierotopical projects are not limited to churches and sanctuaries; in other cases, landscapes [3], architectural compounds [4] and even cities[5] and countries[6] have become products of hierotopic creativity.

The topics of hierotopic study cover a broad span of interests and range, for example, from the role played by light in church architecture [7] to the study of religious ceremonies, feasts[8] and folk customs[9]. The comparison of hierotopic models at work in different cultures is another focus of interest[10][11].

Four international symposia (2004, 2006, 2009, 2011) have been organized on hierotopical subjects.

Spatial icons Brian's version

The concept of the spatial icon plays a central role in hierotopy and is used to describe the perception of sacred spaces. Spatial icons are understood to play a mediating role between the mundane and the sacred and are evoked, for example, in the space of a temple or sanctuary [12]. Hierotopic creativity is a sort of art, which can be described as the creation of spatial icons. The concept applies to the way in which the perception of architecture, light, image, ritual practice, as well as various other components forming sacred spaces, is unified into a single vision. It is also used in the study both of "sacred landscapes", such as the New Jerusalem Monastery near Moscow, as well as of various ritual practices, such as the Donkey walk in Medieval Moscow [13]. Spatial icons are essentially dynamic and performative in nature, such that the formal boundary between ‘image’ and ‘beholder’ no longer pertains. Typically, the beholders of spatial icons are actively involved in some way and become, to a certain extent, co-creators of the icon[14].

Spatial icons my version

The concept of the spatial icon plays a central role in hierotopy and is used to describe the perception of sacred spaces. Spatial icons are mediatory images that are evoked in the space of a temple or a sanctuary and form its sacred medium[15]. Hierotopic creativity is a sort of art, which can be described as the creation of spatial icons. This concept applies to the perception of the interior of churches, including architecture, images, dramaturgy of light and liturgical ritual in their unity, and also to the study of "sacred landscapes", such as the New Jerusalem Monastery near Moscow, and of various rituals creating iconic medium, such as the Donkey walk in Medieval Moscow [16]. Spatial icons are essentially dynamic and performative; the formal boundary between an image and its beholder does not exist. The beholders of spatial icons are typically involved in action and become to a certain degree their co-creators[17].

Transfer of sacred spaces Brian's version

The transfer of sacred spaces is an important form of hierotopic creativity. While an original sacred space often appears as the result of a theophany, such as a divine visitation or omen, the transfer of sacred space consists in the conscious recreation of the original in a form of a spatial icon, which is present in a temple or a sanctuary. For example, the construction of the First Temple, as recounted in the Old Testament, can be viewed as the reproduction of the sacred space of the Tabernacle. Similarly, in the design and construction of many Christian churches, the First Temple itself has been taken as a hierotopic prototype. Multiple "New Jerusalems" (reproductions of the Holy City of Jerusalem) aimed to establish a link to the space of the Holy Land and are common both to the Eastern and Western branches of the Christian tradition[18].

Transfer of sacred spaces my version

The transfer of sacred spaces is an important form of hierotopic creativity. An original sacred space often appeared as the result of hierophany, i.e., via a divine visitation or omen. This primary/original sacred space was consciously reproduced in the course of hierotopic creativity and was present in a newly created sanctuary or temple as a spatial icon. For example, in the Biblical history the construction of the First Temple can be viewed as a reproduction of the sacred space of the Tabernacle. Similarly, in the design and construction of Christian churches, the First Temple itself was used as a hierotopic prototype. Multiple reproductions of "New Jerusalems" aimed to establish a link to the space of the Holy Land (the setting of the Gospel story) were common both to the Eastern and Western branches of the Christian tradition[19].

Image-paradigms

The perception of sacred spaces has been analyzed by Lidov in terms of image-paradigms[20][21]. According to his conception, an image-paradigm is a guiding image-vision that is created with the help of various media and that is aimed at evoking the same image in the mind of beholders of a sacred space. An image-paradigm, which is essentially different from an illustrative picture or representation, is a means of communication between the creators of sacred spaces and their beholders. It constitutes a kernel of meaning that gives form to an entire hierotopic project. As an example, the image of the Heavenly Jerusalem, which was present in Byzantine churches without being directly represented, is one of the most significant image-paradigms in the Christian tradition [22].

References

  1. ^ A. Lidov. Hierotopy. The creation of sacred spaces as a form of creativity and subject of cultural history. In: "Hierotopy. Creation of Sacred Spaces in Byzantium and Medieval Russia". Ed. A.Lidov, Moscow, "Progress-Tradition", 2006, pp. 32-58
  2. ^ A. Lidov. The Creator of Sacred Space as a Phenomenon of Byzantine Culture. L’artista a Bisanzio e nel mondo cristiano-orientale. A cura di Michele Bacci. Pisa, 2003, p.135-176.
  3. ^ Sh. Tsuji. Creating an Iconic Space. The Transformation of Narrative Landscape. In: "Spatial icons. Performativity in Byzantium and Medieval Russia", Moscow, "Indrik", 2011, pp. 627-642
  4. ^ G. Zelenskaya. New Jerusalem near Moscow. Aspects of the Conception and New Discoveries. In: "New Jerusalems. Hierotopy and iconography of sacred spaces", Moscow, 2009, с. 745-773
  5. ^ E. Kirichenko. The Church and the City: on the Symbolic and Structural Unity of the Russian Sacred Space. In: "Hierotopy. Comparative studies of sacred spaces", Moscow, "Indrik", 2009, с. 292-322
  6. ^ V. Petrukhin. Hierotopy of the Russian Land and the Primary Chronicle. In: "Hierotopy. Creation of Sacred Spaces in Byzantium and Medieval Russia", Moscow, 2006, pp. 480-490
  7. ^ A. Godovanets. The Icon of Light in the Architectural Space of Hagia Sophia. In: "Spatial icons. Performativity in Byzantium and Medieval Russia". Ed. A. Lidov, published by Indrik, Moscow, 2011, pp. 119-142
  8. ^ L. Beliaev. The Hierotopy of the Orthodox Feast: on the National Traditions in the Making of Sacred Spaces. In: "Hierotopy. Comparative studies of sacred spaces". Ed. A. Lidov, Moscow,"Indrik", 2009, pp. 270-291
  9. ^ A. Moroz. “Sacred” and “Horrible” Places. Creation of Sacred Spaces in Traditional Culture. In: "Hierotopy. Comparative studies of sacred spaces". Ed. A. Lidov, Moscow, “Indrik”, 2008, pp. 259-269
  10. ^ N. Isar. Vision and Performance. A Hierotopic Approach to Contemporary Art. In: "Hierotopy. Comparative studies of sacred spaces". Ed. A. Lidov, Moscow, “Indrik”, 2008, pp. 341-375
  11. ^ M. Chegodaev. The Hierotopy of the Ancient Egyptian Sarcophagus. In: "Hierotopy. Comparative studies of sacred spaces". Ed. A. Lidov, Moscow, “Indrik”, 2008, pp. 18-37
  12. ^ A. Lidov. Hierotopy: Spatial icons and Image-Paradigms in Byzantine Culture. Moscow, “Theoria”, 2009. Ch. 2. Spatial Icons. The miraculous performance with the Hodegetria of Constantinople. pp. 39-70, pp. 311-316
  13. ^ M. Flier. The Image of the Tsar in the Muscovite Palm Sunday Ritual. In: "Spatial icons. Performativity in Byzantium and Medieval Russia". Ed. A. Lidov, Moscow, "Indrik", 2011, pp.533-562
  14. ^ A. Lidov. The Byzantine World and Performative Spaces. In: "Spatial icons. Performativity in Byzantium and Medieval Russia". Ed. A. Lidov, Moscow, "Indrik", 2011, pp. 17-26.
  15. ^ A. Lidov. Hierotopy: Spatial icons and Image-Paradigms in Byzantine Culture. Moscow, “Theoria”, 2009. Ch. 2. Spatial Icons. The miraculous performance with the Hodegetria of Constantinople. pp. 39-70, pp. 311-316
  16. ^ M. Flier. The Image of the Tsar in the Muscovite Palm Sunday Ritual. In: "Spatial icons. Performativity in Byzantium and Medieval Russia". Ed. A. Lidov, Moscow, "Indrik", 2011, pp.533-562
  17. ^ A. Lidov. The Byzantine World and Performative Spaces. In: "Spatial icons. Performativity in Byzantium and Medieval Russia". Ed. A. Lidov, Moscow, "Indrik", 2011, pp. 17-26.
  18. ^ A. Lidov. "New Jerusalems. Transfering of the Holy Land as Generative Matrix of Christian Culture" in New Jerusalems. Hierotopy and iconography of sacred spaces, ed. by A. Lidov, Moscow: Indrik, 2009, pp. 5-10.
  19. ^ A. Lidov. New Jerusalems. Transfering of the Holy Land as Generative Matrix of Christian Culture. In: "New Jerusalems. Hierotopy and iconography of sacred spaces". Ed. by A. Lidov, published by “Indrik”, Moscow, 2009, pp. 5-10.
  20. ^ A. Lidov. "Image-paradigms as a category of visual culture. Hierotopic approach to the art history", Russian Journal of Art History(Iskusstvoznanie), 2011, No 3-4, pp.109-122
  21. ^ A. Lidov. "Image-Paradigms as a Notion of Mediterranean Visual Culture: a Hierotopic Approach to Art History" in Crossing Cultures. Papers of the International Congress of Art History. CIHA-2008, Melbourne, 2009, pp.177-183
  22. ^ A. Lidov. "Hierotopy: Spatial icons and Image-Paradigms in Byzantine Culture", Moscow: Theoria, 2009. Ch. 10, Image-Paradigms as a New Notion of Visual Culture, pp. 293-305, 335-337.

Further reading

  • Hierotopy. Christian Sacred Spaces. Cambridge Dictionary of Christianity. Cambridge, 2010 (see bibliography in [1])
  • Hierotopy: The Creation of sacred spaces in Byzantium and medieval Russia. Edited by A. Lidov. Moscow, Indrik, 2006 [2]
  • New Jerusalems: Hierotopy and iconography of sacred spaces. Ed. A. Lidov. Moscow, Indrik, 2009,910 pp. [3]
  • A. Lidov. Hierotopy: Spatial Icons and Image-Paradigms in Byzantine Culture. Moscow, "Theoria", 2009, 352 pp.
  • Bissera V. Pentcheva. The Sensual Icon. Space, Ritual, and the Senses in Byzantium. Pennstate Press, 2009. abstractsample chapter
Retrieved from "https://en.wikipedia.org/w/index.php?title=User:Asimsky/Regional_Reference_Frame_Sub-Commission_for_Europe&oldid=520387559"