Sacred Space: A Theological/Aesthetic View

Both feeling and thought operate largely through a process of associations. Some of these are learned; some seem to be transcultural. In Western art it has long been assumed that certain arrangement of sounds, shapes, and colors evoke particular emotions and ideas. Rudolph Otto applies this idea also to the experience of the “Holy,” the “mysterium tremendum et fascinans.” This is a unique experience, irreducible to any other. However, there is a “law of associations” by which aesthetic and moral experiences evoke the “numinous” by a kind of analogy. Otto’s analysis raises the question whether there is in fact a specific experience of “the holy.” Is religious consciousness a sui generis experience, or is it rather an interpretation of experience? Is Otto’s notion of the numinous tied to a particular stage of religion? Post-Kantian transcendental theology proposes that “depth” or “limit” experiences are implicit in consciousness, and provide the basis for a variety of associations with the ultimate mystery of existence. The divine is anticipated as infinite transcendence that is at the same time radical immanence. The implicit intentionality of the divine can be implicit or can be formulated at different levels as feeling, image, concept, and transcendental intentionality. The “sacred” is an aesthetic construct signifying heightened awareness of the mystery. Sacred spaces are places consecrated to such awareness; they can be constructed in response to various aspects of communal awareness. All such aesthetic mediations of the sacred have an ambiguous relation to religious conversion.