The Sacred And The Profane: The Nature Of Religion By Mircea Eliade

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The book “The Sacred and the Profane: The Nature of Religion”, written by Mircea Eliade, investigates four aspects of the sacred universe: space, time, nature, and self. Eliade splits each aspect into two forms of perception, the sacred and profane. Religious men, specifically the ancient, traditional men, view the universe as sacred. In other words, they acknowledge a distinct qualitative difference between a sacred and profane (non-sacred) universe; whereas, nonreligious, specifically modern men, are unable to understand such differences in the world. This claim rests on the on the concept of heirophanies or manifestations of the sacred. A hierophany is the religious man’s source of absolute reality and it illuminates the glory and power of God. This manifestation of divine glory charges a site with special significance, thereby losing a sense of homogeneity throughout the universe. Eliade’s underlying thesis is that due to the human experience of both the sacred and profane in day to day life, the transitional zones between the two are exceptionally illuminated and charged with the divine glory of the sacred. The aspect of ordered space versus uniform space is the first comparison drawn between the Sacred and Profane experience of life. Space has a sense of order for religious men because holy places gave the universe a fixed center and sacred territories were distinctly separated from the profane territories. Furthermore, the foundation on which religious men built their entire reality were heirophanies. This is because of their desire to connect to the transcendent being. Heirophanies revealed the glory of god’s power and each action that a religious man carried out in life was symbolically surmounted on this base, thereby ... ... middle of paper ... ..., the contrast of light byzantine mosaic tiles against a background of dark mosaic tiles mimics the appearance of stars in a vast galaxy. Therefore its threshold represents the dichotomy to the interior is such a shocking transition to the spirit. This supports the conjecture that the most powerful connection to the sacred reality is present in the rites of passage going from the profane to sacred worlds. The sacred view of water represents formlessness. The material used as the flooring of the Hagia Sophia is striated with wave like curves that look similar to ripples in water. Because it symbolizes formlessness the floor of the temple is representative of the chaos of the profane world and the large distance between the floor and dome further emphasizes the distance that separates the world form the glory of God. tmedia of the enormous hemispheric Dome of the

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