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Role of architecture from ancient to gothic places of worship and gatherings

Introduction

According to Prebles' art forms, architecture plays an important role in places of worship and

gatherings. In ancient times, architecture was used by the individual to create awe-inspiring

spaces that were designed to inspire and uplift the human spirit. In Gothic architecture, the focus

shifted to creating grand and ornate spaces designed to reflect God's majesty and power. In both

cases, architecture played a central role in creating spaces to facilitate spiritual connections and

contemplation. The majority of the world's religions have discovered methods to incorporate

artists' creativity into their sacred rites, locations, and ceremonies to further the function of art in

enhancing religious contemplation. (Frank, pg. 25)

In the thirteenth century, Thomas Aquinas, one of the foremost Roman Catholic thinkers,

remarked about the role of art in assisting religious instruction: "It is proper for Holy Scripture to

put forward divine and spiritual truths using parallels with material objects." God provides for

everything by what each thing's nature can handle. He declared, "It is natural for man to be

pleased with representations," referring to how fascinating images can be for us as humans. In

this way, an aesthetic presentation of an artwork "raises [viewers] to the awareness of

comprehensible truths.".
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In ancient times, for example, the architecture of places of worship was often designed to

reflect the beliefs and values of the culture, with the use of symbols, motifs, and materials that

were significant to the religious traditions of the society. In the Gothic period. Overall, Preble's

book provides a detailed analysis of the role of architecture in ancient and Gothic places of

worship and gatherings and its importance in developing different cultural traditions.

Architecture or artworks from different cultures

The tree of Jesse (stained glass) in Chartres Cathedral in France

Starting with the Jewish patriarch Jesse in crimson at the base of the tree, the artwork depicts the

ancestry of Christ. Four monarchs are depicted in levels on the spreading branches above,

followed by Mary, Jesus' mother, and Christ himself at the summit. As a metaphor for lifting the

mind above the material world and toward the spiritual, the composition draws the eye upward

toward Christ. Thus, for worshipers, the window displays Christ's humanity—as indicated by this

ancestry—but also offers a means of reaching a higher spiritual plane. Jesse Tree stained glass

window, 1150, on the Western facade of the nave of Chartres Cathedral, Eure-et-Loir, France,

depicts the genealogy of Christ as the Tree of Jesse, with Jesse serving as the tree's roots, the

Virgin serving as the flower, and Christ serving as the fruit, with his ancestors on the branches.

The life of Jesus Christ is depicted in this window, and the other two on this facade are from the

12th century. There are as many different paths to the spiritual world as there are cultures.

Buddhism's Zen school teaches its adherents that enlightenment, or a state of spiritual

understanding, can be attained via solitary meditation that purifies the mind and rids it of

distractions. (Frank, pg. 25)

The nearly barren Rock Garden at Ryoan-Ji temple near Kyoto in Japan
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The garden is in front of a terrace where Zen monks (and occasionally tourists) meet to meditate.

The gravel's flawless surface is covered with a few outlying, seemingly random boulders that

Zen monks pick frequently. These protrusions resemble the most basic forms of nature, such as

stone islands rising out of the ocean or mountain summits rising through clouds. Other

interpretations of the arrangement have been put forth, but the main characteristic that sets this

garden apart is its emptiness. There are three main shades in the garden. The moss is a less

ominous shade of color than the dark rocks and light gravel. Although the rocks' colors vary,

these differences are not considerable. They need to give more variety to establish a pattern or

make any particular rock stand out. The gravel appears white at first glance, but closer inspection

reveals white granite with black particles. The moss gives the garden some color and changes

colors. (Frank, pg. 26)

Complex mask in Yumin Eskimo, Southwest Alaska

Shamans perform a priestly role in the traditional Eskimo civilizations of Southwest Alaska by

explaining the spirit world to the populace and praying on behalf of the living before the dead. In

ceremonies that recreate ancient myths through singing and dancing with masks and costumes,

Eskimo shamans access the spirit realm by assuming the identity of sacred animals. Shamanic

masks depict these transitions in great detail; the intricate mask features an outstretched shaman

with limbs and legs at the top. It holds two staffs with feathered ends.

The chest cavity is red and displays a round heart at its core, giving the impression that his body

has been flayed open. He has a seal that appears to be coming from his torso underneath him due

to his self-opening. We cannot determine the specific myth this mask represents because the

stories that went along with it have been lost to time. Still, it was made by people to support

rituals involving spiritual development. (Frank, pg. 26)

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Taj Mahal in India

The Taj Mahal is an illustration of a private memorial. The Taj Mahal, which translates to

"Crown of the Palace," was built in the seventeenth century on the banks of a river between a

guest house and a tiny mosque as a tomb for Shah Jahan's beloved wife, who passed away in

childbirth. It is located after a four-part paradise garden that resembles the Qur'anic description

of paradise. The exterior's white marble surface seems to change color depending on how the

sunshine hits it.

It is a testament to the incredible skill and artistry of the Mughal architects and artisans who built

it, as well as the wealth and power of the Mughal Empire. Mumtaz Mahal. The mausoleum is a

reminder of the emperor's devotion to his wife and their enduring love. The bulb-shaped dome's

proportions give the building an airy, barely-touching appearance. The Taj Mahal is a symbol of

romantic devotion and love, and many ritual objects are beautiful and deserving of their usage in

holy rituals. The Taj Mahal is widely considered one of the world's most beautiful buildings and

is a UNESCO World Heritage Site. It is made of white marble and features intricate carvings and

precious inlaid stones. The Taj Mahal exemplifies Mughal architecture, a blend of Indian,

Persian, and Islamic styles. (Frank, pg. 27)

The Chalice by Beatrice Wood from America

American sculptor Beatrice Wood's Chalice appears to be emitting a mellow glow. Muslim

potters invented the method that results in this shimmering, metallic appearance decades ago.

The lack of straight lines and square edges in the piece's profile reveals that the earth's natural

features inspired it. As priests do during Roman Catholic mass, the symmetrical loops at the

sides beg us to hold and lift this piece high. Indicating that this work connects the holy and the
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human, the loops also allude to a similarity to the human shape. The piece is significant because

it is a testament to Wood's skill as a ceramic artist, as the intricate designs and delicate balance of

the Chalice demonstrate her mastery of the medium. In addition, The Chalice is important

because it reflects the broader cultural context of the time it was created, as Wood was part of the

Dada and Surrealist movements, which sought to challenge traditional artistic conventions and

explore the unconscious mind.

The Chalice is a ceramic work by Beatrice Wood, an American artist known for contributing to

the Dada and Surrealist movements. The piece features a tall, slender ceramic vessel with a wide,

flared rim and intricate, swirling designs etched into its surface. Wood created the piece in the

1950s, and it is considered to be one of her most iconic works. The Chalice is a prime example

of Wood's interest in exploring the relationship between form and function in art and her

fascination with ancient cultures and their art. (Frank, pg. 27)
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Complex Mask in Yumin

Eskimo, Southwest
Alaska
The Tree of Jesse in
Chartres Cathedral
in France

Architecture from
different cultures in
The Barren Rock
worship and gatherings
Garden at Ryoan-Ji
temple in Japan
The Taj Mahal in
India

The Chalice by Beatrice

Wood from America
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Work Cited

Preble Emeritus, Duane, et al. Prebles’ art form, Sara and Patrick, 11th Edition-Pearson 2013,

(page 25-27).