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Theology in StoneChurch Architecture From Byzantium to Berkeley$
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Richard Kieckhefer

Print publication date: 2004

Print ISBN-13: 9780195154665

Published to Oxford Scholarship Online: July 2005

DOI: 10.1093/0195154665.001.0001

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The Third Factor: Aesthetic Impact

The Third Factor: Aesthetic Impact

Chapter:
(p.97) 3 The Third Factor: Aesthetic Impact
Source:
Theology in Stone
Author(s):

Richard Kieckhefer (Contributor Webpage)

Publisher:
Oxford University Press
DOI:10.1093/0195154665.003.0004

There is broad consensus that churches should be places of beauty, but for different reasons. The aesthetic design of a church may be viewed as a way of signaling holiness--the presence of the holy (i.e., the divine) within the sacred (i.e., a cultural complex drawing upon sacred tradition and fostering a sacred community). The emphasis in the classic sacramental tradition on an interplay of transcendence and immanence—with creation of height, light, and volume that call attention to themselves and serve as sacred symbols—is illustrated by early descriptions (ekphraseis) of Hagia Sophia in Constantinople (Istanbul) An alternative conception of church aesthetics is found at Christ Church Lutheran in Minneapolis, where architectural forms are simple and subtle reminders of grace. A church by Julia Morgan serves as an example of architectural articulation. And the Thorncrown Chapel at Eureka Springs, Arkansas, illustrates the integration of church design with natural setting.

Keywords:   aesthetic impact, holiness, transcendence, immanence, height, light, volume, Hagia Sophia (Constantinople), Christ Church Lutheran (Minneapolis), Julia Morgan, articulation, Thorncrown Chapel at Eureka Springs (Arkansas)

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