THE SYMBOLIC STRUCTURE AS AN EXPRESSION FACTOR TO THE SACRALITY OF TEMPLE CONSTRUCTION

SA.
2019;
: 1-12
Authors:
1
Lviv Politechnic National University, Department of Architecture and Conservation

This article to make the attempt to exposed the symbol structure in its appearance and geometrical form as to expressed the sacral essence in the temple construction. This structure to manifests through the appearance-idea, the functionary-content to fill up and the sure symbol-sign that is show in the space of temple volume in sacred building. The significance manifests itself by the certain feature of the temple buildings, which in their imaginative expression symbolize the sacral essence of the God Temple that is show in some sacral forms-symbols. The place of the temple disposal points out the certain space of placing and manifestation of the sacral essence- "hierophany" as an integral feature and property of this space. Exactly hierophany realizes the sanctification of this place through the imaginative and symbolic structure of the temple building and its immediate influence on the surrounding environment and town building. Every temple and its space contain the tree-measurable cross, as if the space narrows and symbolize the whole universe filled with God. This spatial cross has the shoulders, which are turned to the six space directions and together with the "middle-center" form the seven-point planning of the space/ As this "middle-center" is God Jesus Christ that is God himself creates all the sacral space. The space which to create of the exsternal and inner essence of sacral building as to taken the filling and expression through the definite symbolical essences, whose to incarnate by means of defferent to signifies components, which to create and fill up of this space. The organization of architectural space, its his structuring to take the determinate as the primary basis of the architectural composition on the any of level in the system of surroundings environment. The artistic conception-image whose to incarnated in this transfigurative architecture space as to conversion of him to the artistic space. About of the sacral architecture of temple building that to Sacrum as an incarnate conception-image create of this sacral space- the place to manifest itself of the mysterious and sacred. Form creation in the architecture creative work to most of all depend upon from that social, world outlook and ideological substance, which to fill up the form of him expression. Its undoubtedly to touch of the architecture of temple building which to the form creation of structure its to accumulated in the temple space the spirit-social source and its society- significant part of him image-sign to be presence of Sacrum. By the since symbol in yours practical use to bring up in builder to sensitivity to the formal perfection, harmony and aesthetics of the content and sacral apprehension to exactly in the symbol-sign express to be manifestation the sacral essence of temple buildings. Every place, which is sacrificed and fixed with the temple building, becomes its symbolical and imaginative center that accumulates the incomprehensible potential of the Heaven Gifts, which show themselves in these buildings.

  1. Gnidecz, R.B., 1998. Manifestation of sacrum in the spatial setting of Ukrainian churches / Visnyk DU "Lvivska politexnika". Arxitektura, 358, s.29-32.
  2. Gnidecz, R.B., 2004. Tradition of sacred architecture as a factor in the establishment of spirituality and faith. Visnyk LDAU. Arxitektura i silskogospodarske budivnycztvo, 5, s.199-208.
  3. Gnidecz, R.B., 2009. Geometric shapes as an aspect of discovering the structure of space in the Ukrainian temple building. Visny`k LNAU. Arxitektura i sil`s`kogospodars`ke budivny`cztvo, 10, s.145-153.
  4. Gnidecz, R.B., 2009. Church architecture of Ukraine as a means of forming the spiritual and sacred space. Naukovyj shhorichnyk. Knyga II, s. 398-404.
  5. Gnidecz, R.B., 2010. Constructive expression of the form as a feature of the formation of the sacred space of temple. Budivnycztvo Ukrayiny. Naukovo-vyrobnychyj zhurnal, 2, s.18-22.
  6.  Gnidecz, R.B., 2011. Color as a factor of sacralization forms in the architectural space of temple buildings. Budivnycztvo Ukrayiny. Naukovo-vyrobnychyj zhurnal, 6, s.23-32.
  7. Gnidecz, R.B., 2014. Formation components of the spatial environment structure in Ukrainian church architecture. Visnyk LNAU. Arxitektura i silskogospodarske budivnycztvo, 15, s.163-168.
  8. Demchuk, R. 2008. Sophia's Temple in the symbolic space of Rus-Ukraine. Kyyiv: Vydavnychyj dim "Kyyevo-Mogylyanska akademiya". s.25-107.
  9. Eliade, M., 2016. Traktat z istoriyi religij. Pereklad z franczuzs`koyi O. Panycha. Kyiv: Dux i Litera. s.501-509.
  10. Epy`sk. Losten, V. 2016. Our Christian Heritage: Sermon on the occasion of the 1000th anniversary of the baptism of Rus-Ukraine. Lviv: Svidchado s.169-200.
  11. Katrij Yu. Ya., ChSVV. 1999. Our Christian tradition. 2-ge vyd. Lviv: Misionar s.182-260.
  12. Kramarchuk, X.P., 2005. Poetic image of the architectural-subject environment (on the example of Ukrainian folk architecture) The dissertation dissertation for obtaining a scientific degree of the candidate of architecture. Lviv: Vyd-vo NU "Lvivska politexnika".
  13. Kryvoruchko, Y., 2005. Western paradigm of the space of a modern Christian church. Zapysky Naukovogo Tovarystva imeni Shevchenka. Praci Komisiyi arxitektury ta mistobuduvapnnya.- Tom CCXLIX. Lviv: DVCz NTSh, s.105-162.
  14. Krymskyj, S. 2015. The effect of the high sky / Return to Constantinople / under the general editorship of L. Ivshyna. 1-she vyd.. Kyiv: TOV "Ukrayinska pres-grupa" s.313-339.
  15. Kripa, M. A., 1999. Contemporary art and architecture and holiness of signs. Soprychasttya. Mizhnarodny`j bogoslovskyj chasopys (Sakralne mystecztvo), 3. Lviv: Svidchado s.55-64.
  16. Neapolytanskyj, S.M. 2003. Sakral`naya geometry`ya. Sankt-Peterburg: Svyatoslav s.573-583.
  17. Pushkash, L., 1999. Cerkva i mystecztvo sogodni i perktyvy (zagalom i zokrema stosovno Sxidny`x cerkov). Soprychasttya. Mizhnarodnyj bogoslovskyj chasopys (Sakralne mystecztvo, 3. Lviv: Svidchado s.23-44.
  18. Xmelovskyj, Or. 2004. Teoriya obrazotvorennya: Kn. 4.1. Tryzub. Tayemne vchennya ukrayinciv.- Luczk: VMA "Teren".
  19. Xmelovskyj, Or. 2005. Teoriya obrazotvorennya: Kn. 5. Kompozyciya. Luczk: VMA "Teren".
  20. Chumarna, M.I. 2008. Code of Ukrainian embroidery. Lviv: Apriori, s.54-157
  21. Florenski P. 1986. Ikonostas i inne szkice. Warszawa s.33-45.
  22. Hani, J. 1994. Symbolika świątyni chrześcijańskiej. Kraków: Znak. s.45-72.
  23. Pawlicki B і M. 2006. Sacrum- wraźliwość twórcza artysty. Architektura sakralna w kształtowaniu toźsamości kulturowej miejsca. Pod red. E. Przesmyckiej. Praca zbiorowa. Lublin: WPL (Wydawnictwo Politechniki Lubelskiej) s.15-27.
  24. Rabiej J. 2006. Architektura sakralna chrześcijaństwa- między partykularyzmem a uniwersalizmem. Architektura sakralna w kształtowaniu toźsamości kulturowej miejsca. Pod red. E. Przesmyckiej. Praca zbiorowa.- Lublin: WPL (Wydawnictwo Politechniki Lubelskiej), 2006.- S. 320-330.
  25. Uścinowicz, J. 1999. Symbol. Archetyp. Struktura: Hermenewtyka tradycij w architekturze świątyni ortodoksyinej. Białystok, s.19-33.
  26. Uścinowicz, J., 2011. Struktura symboliczna architektury świątyni: wprowadzenie do teologii wyrazu sztuki sakralnej. "Elpias". Czasopismo Teologiczne Katedry Teologii Prawosławnej Uniwersytetu w Białymstoku. Rocznik (XXIV), Zeszyt 23-24 (36-37), s.139-180.
  27. Wallis, M. 1983. Sztuki i znaki. Pisma semiotyczne. Warszawa, s.175-183.