Within the B/R era churches, and in religious architecture
in general, the concept of heaven can be represented figuratively or
allegorically, entrusting the viewer with the finer details whilst focusing on
one aspect of the concept, such as the ascent. Or it can be represented
literally, as the artist and/or patrons imagine it, invoking the power of
figural expression whilst risking isolating viewers whose ideas of heaven do
not conform.
Here is Turin
again as our example of a figural and formal presentation of the relationship
between the Shroud and its owners current address. Because the primary shapes
utilized are radial as opposed to axial, one point gains a superior moment.
And here is Asamkirche in Munich
as our example of a literal representation of the building opening up from the
altarpiece to heaven. The transition takes place from floor to ceiling,
gradually opening up as the lines become more irregular going upward. The most
powerful axis can be seen to be through the pughs upward through the vertical
elements of the rear of the church and transitioning
into the horizontal elements which take on the effect of wings. Because these
lines permeate the entire space there is less mysticism here, but the power of
the space is overbearing in other ways.
The difference in primary mode can be attributed
to the difference in usage of the spaces. One is a reliquary, meant for
ambulatory visitation, prayer, and occasional service. The other is meant for
regular service. The differences in the quality of space seem to stem from one
space wanting to be a space that envelops you with its universal opulence,
whereas the other space wants to keep you reverent and not inquisitive.
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