Hermeneutics of Sacred
Architecture
Lindsay Jones
Harvard University Press
2000
A. Architecture as Orientation
• 1. Homology: Sacred architecture that presents a
miniaturized replica of the universe and/or
conforms to a celestial archetype.
• 2. Convention: Sacred architecture that conforms
to standardized rules and/or prestigious
mythicohistoric precedents
• 3. Astronomy: Sacred architecture that is aligned
or referenced with respect to celestial bodies or
phenomena
A. 1. Homology
• Architectural expressions of hierophany or
an earthly manifestation of “the sacred”.
• Architectural imitations of celestial
precedents or “archetypes”.
• Architectural expressions of imago mundi,
or cosmographic ordering.
• Architectural expressions of axis mundi, or
the symbolism of the center.
A. 2. Convention
• Architectures that conform to universalistic
principles and proportions that are (considered to
have been) derived from largely empirical
observations of the natural world.
• Architectures that conform to axoimatic
stipulations that are (considered to have been)
delivered by divine revelation or decree.
• Architectures that conform to precedents that are
(considered to have been) established by
prestigious historical and/or mythical presence.
A. 3. Astronomy
• Astroarchitectural references, when coordinated
with other orientational strategies, can
substantially enhance the appearance of harmony
and conformity to a generalized world order, and
thus enhance the legitimacy – and allure –
associated with a specific ritual-architectural
circumstance.
• Ritual-architectural choreographers may, on
occasion, find ways to capitalize on some
predictable sky phenomenon as a means for
strategic scheduling of a ceremony.
• Astroarchitectural orientations – which
work, in a sense, to incorporate sky
phenomena into the ritual context – can
likewise substantially enhance the
presentation and apprehension of meanings
that bear on each of four commemorative
elements:
–
–
–
–
Commemorations of Divinity
Commemorations of Sacred History
Commemorations of Sociopolitical Concerns
Commemorations of the Dead
B. Architecture as
Commemoration
• 1. Divinity: Sacred architecture that
commemorates, houses, and/or represents a
deity, divine presence, or conception of
ultimate reality.
• 2. Sacred History: Sacred architecture that
commemorates an important mythical,
mythicohistorical, or miraculous episode or
circumstance.
• 3. Politics: Sacred architecture that
commemorates, legitimates, or challenges
socioeconomic hierarchy and/or temporal
authority.
• 4. The Dead: Sacred architecture that
commemorates revered ancestors and/or
other deceased individuals or groups.
B. 1. Commemoration of
Divinity
• Personification or divinization of natural
“architectural” features of the landscape.
• Architecture that is conceived as the actual
body of a deity.
• Architecture that is conceived as an abode,
residence, or house of a deity or divine
presence.
• Architecture that is conceived as a built
expression of the attributes of a divinity.
B. 2. Commemoration of Sacred
History
• Architectural configurations that serve as the
stage-setting or backdrop for the reenactment of
notable mythic, historic, and/or miraculous
episodes.
• Ritual-architectural commemorations of
cosmogony.
• Ritual-architectural commemorations of
mythicohistorical episodes or occurences.
• Ritual-architectural commemorations of
mythicohistorical individuals or personages.
• Ritual-architectural commemorations of mythical
places, sites or locations.
B. 3. Commemoration of Politics
• Ritual-architectural configurations that
reflect and perpetuate the prevailing social
hierarchy.
• Ritual-architectural configurations that
challenge, undermine, and (maybe) change
the prevailing social hierarchy.
• Ritual-architectural configurations that
serve more explicitly governmental
functions.
B. 4. Commemoration of the
Dead
• Architectural configurations that facilitate
“bodiless memorializing”.
• Architectural configurations that serve as
the actual embodiment, reactualization, or
transmutation of the dead.
• Architectural configurations designed for
the assiduous treatment and accommodation
of the physical, bodily remains of the
(un)dead.
C. Architecture as Ritual Context
• 1. Theater: Sacred architecture that provides
a stage setting or backdrop for ritual
performance.
• 2. Contemplation: Sacred architecture that
serves as a prop or focus for meditation or
devotion.
• 3. Propitiation: Sacred architecture and
processes of construction designed to
please, appease, and/or manipulate “the
sacred” (however variously conceived).
• 4. Sanctuary: Sacred architecture that
provides a refuge of purity, sacrality, or
perfection
C. 1. Theater
• Theatric allurement may entail the presentation of
dramatic architectural spaces that seduce, affect,
or amaze a solitary individual. The more
prominent instances of theatric allurement involve
carefully scheduled interactions between ritual
performers and an audience of onlookers.
• Dramatic presentational means intensify the effect
and/or affect – that is, enhance the “quality of
knowledge” – of the information presented in
those contexts.
C. 2. Contemplation
• Ritual-architectural instigation via contemplative modes
involves the presentation of architectural configurations
and elements that can serve as supports, guides, or
perhaps “maps” to some sort of devotional experience.
• Contemplative modes may serve to express messages
with respect to each of the four commemorative elements
but in each case the pertinent messages may be:
– Highly rarified, cerebral, and abstract
– More plainly educative and even didactic
C. 3. Propitiation
• Propitiatory ritual uses of standing (already-built)
architecture.
• Architectural construction (or destruction)
processes that are themselves conceived as
propitiatory ritual:
– (Re)building for periodic renewal
– Building as a demonstration of devotion, sacrifice, or
offering
– Building as investment or petition
– Ritualized destruction and defacement (“unbuilding”)
C. 4. Sanctuary
• Requisite preparation of various elements of the
ritual-architectural situation:
– Appropriation of natural “sanctuaries”
– Preparatory sanctification of apparently ordinary places
or human constructions
– Preparatory sanctification of human ritual actors
• Sanctuary modes may work with each of the four
commemorative factors (divinity / sacred history /
politics / the dead)