Divine illumination in medieval Christian philosophy and knowledge theory

¶ … Poetic of Divine Light

Divine Light

The concept of "divine light" can be regarded in terms of many areas of life. Particularly in these modern times, the concept of the divine has stretched and evolved to include a variety of principles, religions, and lifestyles. This makes "divine light" itself a difficult concept to define or focus. To shed some light on the topic, one might investigate for example the origin of the concept and how it integrated with social values and ideals of the time.

According to Robert Pasnau, the "divine light," or divine illumination, is perceived as a particularly Christian, concept, and distinctly Augustinian. This idea is based upon Christian medieval philosophy, and the prominent role the concept played in Augustine's theory of knowledge. While many believe this era to be the origin of the divine illumination concept, others trace the phrase as far back as ancient Greek philosophy, to later Greek traditions, neo-Platonism, and even medieval philosophies of Islam.

Specifically, the theory of divine illumination relates to the cognitive function of the human mind. As such, the mind requires supernatural assistance - divine light - in order to function to its full cognitive abilities. The "divine" is therefore related to the supernatural, in whatever form it took for the philosopher. For the ancient Greeks, for example, the divine would refer to their multi-theistic religious position, while for the Christian, divine illumination occurs through the Trinity of God. The "Light" refers to assistance in enhancing knowledge, or to knowledge itself. The individual on his or her own lives in the darkness of misconception, while the divine illumination provides access to knowledge like a light that is turned on.

A further element of this theory, according to Pasnau, is that divine illumination occurs only to complete some part of everyday human cognition, but not all of it; otherwise human beings would be like controlled puppets in the hands of the divine.

To therefore function fully as cognitive human beings, divine light is required, although human beings can partially function without it. Pasnau highlights the fact that this divine assistance is "special" in the sense that not all belief or all knowledge is explained as a result of divine illumination. Nonetheless, certain kinds of knowledge are achieved only with special divine assistance - divine light. While this form of divine light theory has been regarded as unlikely since the thirteenth century, it nonetheless still survives in certain forms today.

Many writers and artists for example regard the creative process as something that is almost magical. Some of these people even refer in not altogether jesting terms to their "muse."

This is also a form of "divine light" working together with the cognitive function to achieve a product that might not have been otherwise possible. Even in less artistic sectors, such as business, economy or medicine, "flash" insights often occur that appear to be from a higher intelligence beyond the ordinary cognitive function of the human being involved. While the distinctly Christian theory is therefore no longer acknowledged as such, the function that inspired the theory still is.

One might therefore say that the theory addressing the same concept has evolved with time, while the function itself remained constant. In the same way, the "divine light" ideal in architecture has evolved over time to achieve the desired spiritual effect. From ancient Greece to the diversity in society that we observe today, architecture is an art that evolves with the society in which it functions. It is required to adhere to the ideals and aesthetics of a specific social paradigm. This is what makes architecture such a valuable subject of study.

In terms of divine light, religious architecture seeks to address the issue in terms of the form worship takes during every period examined. The ideal of worship in ancient Greece for example would be much different from that in modern-day Europe. So is the concept of divine light. Social evolution, as will be seen, tends to be reflected in architectural evolution. Because architecture is such an enduring art form, this makes it a valuable study in terms of reflecting religious and social values via form and function.

II. Divine Light in Architecture

A. Greek Temples

In ancient Greek society, according to Odyssey, the role of the temple was somewhat different from religious buildings today. Whereas worshipers generally go to church to connect with each other and with God in congregational worship, the function of Greek temples were to house gods. Hence each temple was built for a specific god, with its form and function both devoted to the god in question. The focus was therefore not human comfort or worship, but rather the comfort of the god housed within the temple.

Because the gods, who were generally friendly, could also be volatile at whim, the aim was to make the temples as comfortable for them as possible. As such, temples were equipped with the most luxurious in interior design, a staff of servants and daily offerings of food and drink, along with a share of the harvest and profits.

An image of the goddess or god took the form of a sculpture in the center of the temple. The materials used for these varied from wood to stone, bronze and chryselephantine.

The ancient Greek temple was usually surrounded by the sacred temenos, and enclosure where the public was allowed. This temenos generally featured a spring, trees, or other natural element. It is only in this enclosure that the public was allowed to worship. The temple building itself was closed to the public, and only priests and priestesses could enter.

The only natural light feature usually allowed inside the temple was from the doorway through which the priests and priestesses passed. This symbolized the segregation of gods and goddesses from the public in general. The public was only allowed a small glimpse of the glory of the gods. This separation was later emphasized by the external colonnade, also referred to as the pteron. This pteron was meant to screen the image of the god from the outside world, but was transparent, so that a glimpse at least was still possible. The Greek temples were therefore mostly focused on the gods living within their walls. Divine light was symbolized by the vision of the entire temple, with the colonnade as the connecting factor between the human and divine.

B. Early Christian Architecture

Early Christian Architecture occurs in the vicinity of Rome and its associated cities, such as Byzantium. This architecture closely reflects what was also normally found in the Roman home of the time. The function of early Christian basilicas contrasted with those of the Greeks, as they were focused not only on the worshiper, but also on the needs of all human beings. The atrium, for example, occurred at the front of the building and served as a resting place for pilgrims and tradesmen. As such, light began to play a more prominent role within the building itself.

Santa Sabina is an example of this. The building consists of a nave with an aisle on each side. This is accompanied by a spacious apse. Very large windows are focused on flooding the nave with light, while the windowless aisles remained in darkness. There is a very clear symbolism associated with the interplay between light and darkness.

The light is of course symbolic of Christ as the light of the world. This ideal combines with the architectural function of providing a suitable character and aesthetic to the interior of the building. The aisles below, being in darkness, represents the world below, while the light on the nave provides a heavenly glow to the upper part of the church. This symbolizes the heavenly light, in the form of Christ, descending to meet humanity below. The transcendence and grace of God, to which humanity aspires, are expressed in this way. When viewed from the exterior, the large clerestory windows demonstrate that the building is symbolically a receptacle of divine light. In this tradition therefore, the ideal of light and its role in connecting humanity with the divine is much more prominent than in ancient Greece (talk about the statement regarding divine light perceived as a Christian concept).

C. Medieval Christian Churches

Stained glass art, invented long before medieval times, entered the church as part of the divine light ethic during the 12th century (History of Gothic Architecture). The pioneer of Gothic architecture, as it was known, was Abbot Suger. He felt that the mystic quality of light shining through stained glass was a perfect metaphor for divine light. As such, he felt that windows made of stained glass would provide an excellent conduit for a suitable interior atmosphere.

The initial symbolism, soon to be followed by many examples o the Gothic Cathedral in Europe was drawn from the Book of Revelations. The church represented the new Jerusalem, with the windows symbolic of jewels on the walls.

Specifically, the design of the windows themselves were also used to depict biblical scenes and hence enhance the religious experience of the divine light. The windows for example would depict a large image of a saint, with smaller images from his or her life at the bottom. In this way, the windows could be seen as a conduit of the divine light bathing the congregation within. More complex themes were incorporated for rose windows, including prophets, apostles saints and angels.

Another interesting component of the divine light brought to the citizenry in this way is that the society of the time was largely illiterate. Hence stained glass windows illuminated, so to speak, the message of the bible in visual terms. Not only scholars, therefore, but also children, the simple and the illiterate could access the various legends depicted in this way. The "divine light" takes on a more literal significance in this way, with the windows not only symbolizing, but literally illuminating the bible for those who could not access it by reading. Later, the colors themselves were also attached to symbolic meanings, further specifying the message of each window. The inside of these Gothic Cathedrals then became a type of sermon in itself.

So impressed was all who took part in this worship, that businesspeople and kings alike competed to donate the finest window. The human and divine truly connected in this way, in that the poor, simple and uneducated could appreciate the beauty of the biblical message more fully, and that the powerful and the rich were urged to part with large amounts of money for the prestige of donating such windows. It was therefore both a symbolic and literal interaction between the divine light and human cognition.

On a more aesthetic level, Suger further developed his theory of God to include the ideal of the stained glass window. God was seen as supernatural light itself. As such, he transformed everything on earth, both material and mortal, into its immaterial, immortal counterpart. This theory was the basis of all further Gothic church architecture. AS inspired by Romanesque architecture, ribbed vaulting and pointed arches were included in Gothic architecture particularly to emphasize and enhance the effect of the beautiful stained glass windows.

An example of Gothic architecture is the cathedral at Chartres. This cathedras is considered to be the first in the "High Gothic" style. Construction lasted from 1194 to 1224. Other examples include the Reims, Beauvais and Amiens cathedrals, each outdoing the other in the beauty of its divine light effects.

The Rayonnant style initially characterizing the Gothic style developed to become the Flamboyant style, in which decoration took precedence over all other effects, in the form of pinnacles and other decorative structures. This movement lasted from the end of the 13th century until the end of the middle ages. The style was also later used for more secular buildings.

In the Gothic style, the early Christian tradition of divine light is perpetuated to the ultimate in beauty. The addition of color to light, enhanced by architectural style makes this a period of great beauty and intricate meaning within the walls of the most glorious churches.

Modern Churches

Modern architecture is particularly interesting because of the recognized quality of diversity in the social world. Like the previous eras, the ideals and paradigms of general society is reflected not only in secular buildings, but also in churches. This is particularly clear in the work of Tadao Ando, as will be seen. Le Corbusier, a predecessor of the ultramodern Ando, focused his religious buildings upon using the qualities of natural light in order to create a divine interior atmosphere. One such example is his "Chapel of our Lady of the Height," situated on a hill above the village of Ronchamp.

According to Simon Glynn, Le Corbusier's building, the "Chapel of our Lady of the Height," is meant to be a pilgrimage chapel, where the faithful could enter for religious comfort and fortification. The use of light, combined with architectural form, provides an interesting exterior and interior effect. From the exterior, the building's thick, curved walls and concrete roof gives the impression of strength, size and bulk. From the interior, a number of small windows, brightly painted, together with three light towers provide a dim, almost mystical sense of the divine. Visually, the building's interior therefore creates an atmosphere of the mystic, unknown quality of religion. On earth, human beings can only partially know the whole truth regarding God. What human beings do experience is a gift from heaven, like the light entering the chapel.

Further interior features include plain pews at the south side, curved walls and roof, with a floor that also curves towards the altar, to follow the natural shape of the hill. The east wall above the altar contains several small windows, with a larger one featuring the Madonna and Child. Another interesting feature as that this window also overlooks the outside altar, for use by the faithful making pilgrimages. This feature is reminiscent of the earlier-mentioned Greek temples, where the faithful is allowed to worship only outside the temple, with a stone image of a god or goddess overlooking them. The building is also a return to the ideal of the simple, but striking found in modernism and also reminiscent of ancient times. It contrasts strongly with the lavish spires and paintings decorating the interiors of for example baroque churches, and the purpose of this particular building is mainly religious.

A more integrated approach is followed by Tadao Ando. In this, Ando incorporates the ideal of diversity and universal appeal. This universal appeal was also the aim of the above-mentioned Jesuit church painted by Pozzo. While Pozzo's "universal" appeal was most likely a subjective ideal and hardly truly universal, Ando's ideal appeals more to general society than one particular religious sector. Ando achieves a striking effect with his use of concrete, glass and wood to integrate forces such as sunlight, and even wind and ocean into his work.

Ando asserts his ideal that architecture is more than a mere practical or cultural phenomenon. Indeed, the architect sees his art as an expression of the creative force residing within the human spirit. In this way, Ando's work transcends the boundaries not only of culture, but also of spirituality. The forces of nature and human spirit are combined in such a way to express what is beyond words and beyond dogma. As in Gothic and Baroque architecture, human beings are educated and struck by the interior beauty of these effects, but the boundaries of these impressions have widened.

Instead, Tadao Ando asserts that a universal spirituality is possible through the use of natural forces. This in turn is reminiscent of the enclosures around Greek Temples, where natural elements were used to connect the human spirit to the divine. Ando recognizes that the divine, if architecture is going to be truly universal, is largely undefined by the paradigms of modern society. We live in an integrated world. Ando therefore uses natural elements that appeal universally to the human spirit. This provides for a "divine light" that is flexible: human beings can use its effect to connect to any form of the divine that pleases them. In this integrated approach, Ando emphasizes the creative force, once assumed to be from exterior or supernatural forces, that comes from within the spirit. As such, his work is a true integration of modern social values.

III. Conclusion

In her book, Light Revealing Architecture, Marietta S. Millet emphasizes the importance of the light issue, particularly in modern-day architecture. Light is used for a myriad purposes. This includes not only the mystical, but also the everyday, such as reading and any of the other tasks within the home or workplace. Perhaps the most recent work best signifies the way in which the elements of architecture have evolved to serve the creative human spirit.

Sources

Art Glass Association. 2006. "Stained Glass: A history." http://www.greatbuildings.com/buildings/The_Parthenon.html

Baroque Ceilings in Italy." 2006. http://www.students.sbc.edu/baigent03/baroqueceiling413.htm

Glynn, Simon. 2003. "Chapel of Notre Dame du Haut." http://www.galinsky.com/buildings/ronchamp/index.htm

Millet, Marietta S. 1996. Light Revealing Architecture. New York: Van Nostrand Reinhold

Odyssey, Adventures in Archaeology. 2001. "The Greek Temple." http://www.odysseyadventures.ca/articles/greektemple/greek_temple.htm

Pasnau, Robert. 2006. "Divine Illumination." Stanford Encyclopedia of Philosophy, Sept. 11. http://plato.stanford.edu/entries/illumination/

Royal Academy of Arts. 2007. "The Natural force of Tadao Ando." http://www.royalacademy.org.uk/architecture/interviews/the-natural-force-of-tadao-ando,212,AR.html

Thomas Aquinas College. 2003. "A building that teaches." April 17. http://thomasaquinas.edu/news/pressroom/inthenews/other/stroik_interview.htm

Pasnau, Robert. 2006. "Divine Illumination." Stanford Encyclopedia of Philosophy, Sept. 11. http://plato.stanford.edu/entries/illumination/

Odyssey, Adventures in Archaeology. 2001. "The Greek Temple." http://www.odysseyadventures.ca/articles/greektemple/greek_temple.htm

This is a combined material formed by gold and ivory. According to Odyssey, the statue of Zeus is considered as one of the seven Wonders of the anceint world.

Odyssey

Thomas Aquinas College. 2003. "A building that teaches." April 17. http://thomasaquinas.edu/news/pressroom/inthenews/other/stroik_interview.htm

Art Glass Association. 2006. "Stained Glass: A history." http://www.greatbuildings.com/buildings/The_Parthenon.html

Baroque Ceilings in Italy." 2006. http://www.students.sbc.edu/baigent03/baroqueceiling413.htm

Glynn, Simon. 2003. "Chapel of Notre Dame du Haut." http://www.galinsky.com/buildings/ronchamp/index.htm

Royal Academy of Arts. 2007. "The Natural force of Tadao Ando." http://www.royalacademy.org.uk/architecture/interviews/the-natural-force-of-tadao-ando,212,AR.html

Millet, Marietta S. 1996. Light Revealing Architecture. New York: Van Nostrand Reinhold