Extracts from my PhD – Generators of the Sacred in Charismatic Sacred Places, Haifa University. 2023

Generators of Sacredness in the Dome of the Rock

The Dome of the Rock symbolizes Palestinian nationalism, and contemporary conflicts purportedly revolve around its safeguarding. Historically, it served as an emblem of the Crusaders, notably the Templar Order, with its Sacred geometry replicated in numerous European structures (e.g., Frederick II Castle in Apulia). Perceived as a manifestation of Solomon’s temple, it also holds significance as a symbol in Freemasons teachings and of Muhammad’s nocturnal journey within various Sufi orders.

The article under consideration refrains from discussing the Dome of the Rock solely from historical or political perspectives, focusing instead on a universal understanding of Sacred places and their relationship with visitors. Drawing from studies in Sacred art and architecture [1], it proposes that the building and its environs are imbued with Sacredness generators inherent in their structure and layout, capable of eliciting religious experiences in individual visitors. These generators, akin to archetypes latent in our subconscious, resonate with the arrangement of the site, contributing to its allure (Charisma). Interestingly, this allure sometimes leads to uses contrary to the intended purpose envisioned by its planners.

The argument posited here suggests that the Dome of the Rock’s distinctive appearance has propelled its popularity among Palestinians and Muslims, serving as a symbol of national, messianic, and religious aspirations. Had the Dome resembled an ordinary mosque, it might not have garnered the same level of political, cultural, and national significance observed today. While proving this claim is inherently challenging, our focus shifts to the unique characteristics of the building and its surroundings, viewed through the lens of Sacred phenomenology inherent in human perception, drawing upon insights from comparative religion studies.

Upon examining popular Sacred places in Israel, here referred to as “charismatic Sacred places,” common traits emerge, including complexity, extraordinary elements, a central axis, and the manifestation of duality in various forms [2]. Analyzing these characteristics and their impact leads to the conclusion that patterns within our perception are activated when mirrored in the arrangement of Sacred places. This activation has the potential to evoke inner mystic religious experiences.

In my doctoral thesis on Sacredness generators within charismatic Sacred places in Israel, I elucidated the interplay of Sacredness generators inherent in both human perception and the layout of specific Sacred sites, which I term charismatic Sacred places. I identified four primary Sacredness generators: the sublime extraordinary, the connecting center, the unifying duality, and the fractal complexity. The synergistic operation of these generators facilitates the potential for inner religious experiences, characterized by a shift in awareness and perception, commonly described in religious studies as the experience of the Sacred [3], and in transpersonal psychology as plateau experiences by Maslow [4] or the “self” by Jung [5]. The innovation of my research lies in the assertion that certain locations can catalyze and sustain such experiences, along with the elucidation of how this occurs.

My theory regarding the presence and function of Sacredness generators draws upon various disciplines, including environmental psychology [6], studies in art and aesthetic experience [7], research on Sacred architecture [8], phenomenology, and related fields. These diverse areas of study collectively illustrate the profound connection and influence between individuals and their surroundings, showcasing the emotional, mental, and physical impact that a place can exert upon us. My contention posits that there exists a correlation between Sacred places and the potential for experiencing inner mystical religious encounters.

To delve into this realm, we must first acknowledge the possibility of a specific type of religious experience, as elucidated by scholars such as William James [9], Rudolf Otto [10], and others. This experience aligns with Maslow’s concept of peak and plateau experiences, along with other theories in transpersonal psychology. Additionally, it is essential to establish clear definitions of what constitutes the Sacred and to distinguish between two forms of religiosity – inner and outer – as outlined in the psychology of religion. This groundwork lays the foundation for our exploration into the intersection of Sacred places and the potential for mystical religious experience.

It’s crucial to recognize that the emergence of inner religious experiences in individuals is not an automatic process, but rather contingent upon the individual’s state, level of openness, and ongoing journey. Similarly, the relationship between individuals and places is not static; it transcends a simple stimulus-response paradigm, as suggested by behaviorists. Instead, it aligns more closely with a phenomenological approach to perception. Our current research suggests a novel phenomenology in the perception of Sacred places, rooted in the identification of four Sacredness generators inherent in human perception and reflected in the arrangement of select Sacred sites. Only places imbued with these active principles can genuinely be deemed Sacred, thus acquiring a charismatic quality. The Dome of the Rock serves as a prime example of such a place, wherein the operation of these generators can be elucidated, offering insights into their workings.

Sacredness Generator Sublime extraordinary in the Dome of the Rock

One of the primary Sacredness generators at play is the Sublime extraordinary. A Sacred place must possess something extraordinary that transcends ordinary perception and allows us to connect with the Sacred in a sublime manner. The sublime functions similarly to art at its pinnacle; encountering a magnificent work of art reminds us of an alternate, ideal reality, prompting us to perceive hidden meanings within it. Likewise, the Sacredness Generator Sublime extraordinary induces a shift in our perception, forging a connection with the archetypes of the Sacred, both internal and external.

Indeed, the Dome of the Rock’s profound allure and enchantment stem from its exceptional and sublime artistic beauty, which serves as a Sacredness Generator Sublime extraordinary. In my view, the charisma of this site transcends its conventional political, historical, and religious significance, owing much to its extraordinary aesthetic appeal and remarkable artistry. I posit that if the Dome of the Rock had adopted a different appearance, it would not hold such prominence, with its image adorning countless Palestinian households and appearing prominently in public spaces. While acknowledging the political and religious importance of the site, I contend that there is an additional, aesthetic dimension at play, contributing significantly to the Dome of the Rock’s charismatic presence.

The Dome of the Rock stands unparalleled in the Muslim world; it is a singular creation born out of a convergence of factors. Miriam Rosen-Ayalon suggests that the Dome of the Rock is a product of its time, representing the emergence of a new religion, the significance of its location in Jerusalem (which holds deep connections to Jewish and Christian traditions), and the vision of its builder, Abd al-Malak (705-646) [13]. At its core, the essence of the Dome of the Rock lies in its representation of paradise, characterized by its earthly manifestation of beauty [14].

In Islamic mysticism, it is believed that God has 99 names, with half embodying attributes of power and belonging to the transcendent movement from God to the world, while the other half represent qualities of beauty and pertain to the immanent movement from the world to God. Thus, the beauty inherent in the Dome of the Rock facilitates ascension from this world to the realm of God through the various heavens (spheres), mirroring the journey experienced by Mohammed during his night journey to this place and subsequent ascension.

Indeed, the Dome of the Rock serves as a nexus between dimensions – bridging the earthly realm with the divine, the realm of the living with that of the dead, and the future with the past. Its construction was meticulously designed to evoke a profound sense of holiness and inspire elevated religious experiences, as attested by the accounts of pilgrims across generations. Such was the effectiveness of its design that it served as a model for imitations in Europe during the Middle Ages [15].

According to Rosen-Ayalon, the true essence of the Dome of the Rock is revealed through its intricate decorations, including inscriptions, mosaics, and marble panels, and the interplay between them. The building follows an architectural formula characterized by the systematic use of specific units, an ornamental plan, and a complex and sophisticated concept, all within an overarching iconographic context. Its interior boasts a diverse array of decorative techniques, each referencing one another and the building itself [16]. The result is a harmonious and visually stunning structure that elevates and inspires the visitor, as James eloquently expressed, “shifting the emotional center to the realm of harmonious feelings and affection, from the no to the yes” [17].

The predominant motifs within the Dome of the Rock’s decorations revolve around plants, particularly trees adorned with gems. There is a harmonious correspondence among the plant motifs depicted in stucco, mosaics, and sawn marble panels, as well as between the hues of the columns and the light streaming through stained-glass windows. Collectively, these elements evoke a heavenly ambiance, reinforced by symbols that resonated with believers of the time. One such symbol is baskets filled with flowers, representing an individual’s righteous deeds and their presentation before God on Judgment Day. The tree adorned with gems symbolizes the tree of life in the Garden of Eden [18]. Additional adornments include depictions of wings and crowns, symbolizing angels. The extraordinary artistry breathes life into the structure, infusing it with a transcendent spiritual essence. Notably, the mosaics were crafted from real gold, designed to gleam in the light and evoke a sense of living jewels, radiant sparks of spiritual illumination.

Much like the Temple that once stood in its place, the structure of the Dome of the Rock embodies a heavenly archetype. In Jewish tradition, the heavenly Jerusalem is envisioned to descend to earth, while in Christian tradition, the Garden of Eden is believed to be situated above Jerusalem. These traditions, adopted by Muslim tradition, are reflected in the art and architecture of the Dome of the Rock [19]. The significance of the site is further enriched by the exceptional beauty of the structure, with its form echoing its content. This extraordinary beauty is achieved through the impeccable geometry of the architecture, concealed modules, proportions, and relationships, all adorned with decorative geometry imbued with symbolism. The building’s integrity, its harmonious relationship with the environment, and the vibrant colors employed all contribute to its remarkable effect. As Gerber notes, “the unique completeness and rare beauty of this building were achieved not only through the decorations, executed according to a thoughtful plan, but also through the architectural design, characterized by perfect symmetry and proportions” [20].

Indeed, the utilization of the yellow and blue color combination is merely one facet of what enhances the extraordinary beauty of the Dome of the Rock and captivates our attention. Its aesthetic perfection serves as a catalyst for an aesthetic experience, which, in turn, can facilitate an inner religious experience with the aid of other Sacredness Generators present in the site. Observing the Dome of the Rock from the exterior and immersing oneself within its interior evokes a sensation of something “out of this world,” as Otto aptly described it, akin to the concept of Deinos.

The artistic aesthetic perfection is not confined solely to the visible elements but extends to the concealed aspects, such as the internal proportions of the building [24]. For instance, the size of the dome mirrors that of the Rotunda dome in the nearby Church of the Holy Sepulchre, sharing the same diameter, located just a few hundred meters to the west along an east-west axis. Furthermore, the Dome of the Rock aligns harmoniously with adjacent Muslim structures on the Temple Mount Square and seamlessly integrates with the surrounding mountains, as explored in detail in the chapter on fractal complexity [25].

The extraordinary beauty of the building captivates our attention and stirs our aesthetic sensibilities towards the sublime, evoking descriptors such as “exalted,” “wonderful,” and “full of majesty.” It’s challenging to grasp the building’s extraordinary beauty comprehensively through a photograph or drawing due to their two-dimensional nature, whereas the building and its beauty unfold in three dimensions. Moreover, the process of experiencing the building and its surroundings plays a crucial role in altering perception. Upon encountering the Dome of the Rock, visitors are often struck by its uncommon beauty, transporting them from their ordinary state to a different realm of perception. This unexpected exposure prompts wonder, pauses, and introspection, leading to a heightened awareness and appreciation of details previously overlooked. For some visitors, this transformative encounter, coupled with the presence of Sacredness generators, can catalyze an experience of the Sacred. Without firsthand exposure to the place, the complete process of perceptual transformation cannot unfold.

Sacredness Generator Unifying Duality in the Dome of the Rock

Humans possess a dual mode of perception. While our senses provide us with input about the world around us, this input undergoes interpretation in our brains[26]. Consequently, we don’t perceive reality as it is, but rather through the lens of our interpretation. This dynamic fosters the development of art, literature, music, and religion. According to the psychology of religion, religion is defined as “a system of beliefs in the divine or in superhuman power, Acts of worship or other rituals directed towards that power. All religions contain the belief in spirits that inhabit the invisible world and our relationship with them”[27].

In religious studies, there is a notable distinction, underscored by Eliade, between two levels or planes of experience: the profane, mundane, and temporal, and the Sacred, meaningful, and eternal. The very use of the term “Sacred” denotes this contrast. The Sacredness Generator Unifying Duality bridges these two planes together. This generator highlights the apparent duality in the external world in various forms, emphasizing the connection between opposites outside that mirrors the duality within us. Moreover, this connected duality outside directs us to acknowledge the dual mode in which we perceive the world and experience, facilitating a transition from one mode of perception to another. The term “unifying” suggests that this generator can transcend the ego, leading to the unifying fields of transpersonal psychology, where the individual and the environment become one. Let’s explore the Sacredness Generator Unifying Duality in the context of the Dome of the Rock:

According to Miriam Rosen-Ayalon, the Dome of the Rock stands out as an extraordinary structure in its architecture, art, geometry, and division of space[28]. The most striking aspect of the Dome of the Rock is its order and beauty, which contribute to the visitor’s experience of holiness. However, there is another element of beauty related to the stark contrast with the raw, large, and simple rock at the center of the building. This rock, believed in Muslim tradition to be the point of creation and the site from which Muhammad ascended to heaven, bears his visible footprint. In my interpretation, the contrast between this unadorned rock, with its natural, irregular lines, and the meticulously decorated, perfectly built, and geometrically organized structure, creates a Sacredness Generator Unifying Duality. Had the entire building been uniformly designed and organized, it would lack the impactful contrast it possesses today.

The juxtaposition of the raw, natural rock dominating the central space and the meticulously designed architectural masterpiece serves to elevate visitors beyond their mundane perceptions, allowing the Sacred to penetrate their consciousness. Researcher Oleg Gerber emphasizes that while the Dome of the Rock may seem material and tangible, it harbors profound, symbolic depths. This architectural marvel acts as a bridge between celestial and earthly realms, embodying the Sacredness Generator Unifying Duality, which manifests as “difference within unity”[29].

The contrast between the raw rock and the structured building is harmonized by the concealed dimensions of the architecture. The dome is supported by pillars arranged in a circle, the smallest circle that can encompass the rock, ensuring that the dome’s diameter is directly derived from the size of the rock itself. Additionally, the dimensions of the octagonal structure enclosing the building are derived from the circle defined by the rock and dome, a point I will elaborate on later[30].

The pinnacle of contrast between the natural rock and the meticulously crafted dome epitomizes the celestial and terrestrial realms. The dome represents a heavenly archetype, while the rock embodies earthly existence. Bennett asserts that the dome represents a celestial grace descending upon believers[31]. Associated with Tawhid (unity) in Islam, the circular shape of the dome symbolizes the oneness of God, fundamental to the faith. It embodies harmony and its expansive interior signifies eternity. Adorned with calligraphy from Quranic verses, it symbolizes the descent of the Quran on the Night of al-Qadr, a manifestation of divine grace. In contrast, the rock symbolizes the earth and the transient nature of history, from creation to redemption. The integration of the dome and the rock within one structure establishes the axis mundi, bridging heaven and earth, the mundane and the Sacred planes.

According to Muslim tradition, the Dome of the Rock marks the endpoint of Muhammad’s night journey, signifying the conclusion of a horizontal journey and the inception of a vertical one. Muhammad embarked on a miraculous voyage to the farthest mosque, from where he ascended through the seven heavens to encounter God in the eighth heaven. This event, known in Islam as Isra and Mi’raj, symbolizes a mystical journey toward union with God, echoing Muhammad’s unique encounter with the divine[32]. Phenomenologically, this narrative depicts a transition between planes of experience, leading to the encounter with the Sacred. The interconnection between the celestial and terrestrial realms, between divinity and humanity, serves to reconcile the inner dichotomies within ourselves.

It is worth noting in this context that the word “Islam” in its deepest sense expresses the possibility of a transition between planes of existence originating from total surrender to God (Islam), as James put it: “The feeling that there is a relationship of friendly continuation between that ideal power and our own lives, and a voluntary surrender to His rule.” The result is spirit flaring: “an enormous elation and great freedom while the limits of limited and confined selfishness fade.”[33]

The Sacredness Generator Unifying Duality manifests in various aspects within the Dome of the Rock, notably in its relationship with the nearby Al Aqsa Mosque and the Church of the Holy Sepulchre. According to tradition, during Muhammad’s night journey to Jerusalem, he first prayed at the nearby Al Aqsa Mosque. Subsequently, he met with the prophets and Angel Gabriel in the Temple Mount plaza. Only after this encounter did he ascend to heaven from the Foundation Rock, the site of the former jewish temple, which is considered the closest earthly point to heaven.

According to Rosen-Ayalon, the construction of the Al Aqsa Mosque follows the overall new design of the Temple Mount, with the dome of the Dome of the Rock serving as the main reference point. This dome is modeled after the original dome of the Rotunda in the Church of the Holy Sepulchre. However, it’s not just the dome that is replicated. In the Church of the Holy Sepulchre, there is a round building – the rotunda – accompanied by a basilica, a common motif in ancient times. Similarly, the Dome of the Rock required another structure to complement it, and that is the Al Aqsa Mosque located south of it. The underlying principle here is the duality between a circle and a straight line, with the Dome of the Rock featuring concentric elements and the mosque designed with straight lines. Furthermore, the Dome of the Rock symbolizes divine rule, while the Al-Aqsa Mosque represents Muslim society

Another manifestation of the Sacredness Generator Unifying Duality is evident in the relationship with the dome of the Church of the Holy Sepulchre. Interestingly, the diameter of the two domes is identical, and both are situated more or less along the east-west axis. Various researchers have underscored the deliberate connection between the Dome of the Rock and the Church of the Holy Sepulchre, emphasizing their intentional alignment. This similarity between the two domes is also depicted on ancient maps of Jerusalem, where two equal circles symbolize these structures. The link between the Dome of the Rock and the Church of the Holy Sepulchre held great significance during the Crusader period and likely also carried weight in the early Arab period.

According to Bennett, the Dome of the Rock was built as a temple and not a mosque[36], and one has to wonder why. The answer he gives is that the structure is an archetype of the spiritual journey and a model for Islamic mysticism. The octagonal structure symbolizes the first stage in the spiritual journey, which is the acquisition of the (eight) good qualities which are the eight angels supporting God’s throne; The dome symbolizes the sky, which is the second stage in the spiritual journey and is the mystical experience; And the square or the rock, in this case, is the earth – the place where the journey begins. The gold of the dome is the colour of knowledge, the knower is none other than the known, the connection between the different parts is the complete man (the archetype of the spiritual man – a term in Muslim mysticism) that appears in the figure of Muhammad.

Geometrically, two intersecting squares of the building based on the diameter of the circle surrounding the rock become an octagon which is the base for the design of the building, on top of the rock circle rises the dome, and thus the three stages of the spiritual path (earthly, mental and spiritual)[37] appear in the building’s architecture. The combination of a square and a circle in one structure naturally reminds us of Jung, who describes the Philosopher’s Stone as squaring the circle, graphically expressed in a mandala in which there is a square and a circle. The structure is a geometric expression of a connection between the opposites, and this concept is reflected in the connection between a square (octagon) and a circle in the dome[38].

Researcher Karen Armstrong also agrees with this approach; according to her, the square of the Kaaba in Mecca symbolizes the earth, and around it, people walk in circles symbolizing perfection[39]. In the Dome of the Rock in Jerusalem, the place of Muhammad’s ascension to heaven – the most important mystical experience of Islam – there is an octagon that is the first step out of the regularity of the square. Inside the octagon is the circle of perfection, which is the place to strive for. The structure symbolizes the end of one type of journey, earthly, done on a horizontal vector, and the beginning of another type of journey, spiritual, symbolized by the vertical vector. The dome symbolizes the ascent through the heavens (the seven stages in the spiritual journey), which brings about a connection between the opposites.

Sacredness Generator Connecting Center in the Dome of the Rock

One of the most prominent Sacredness Generators, as pointed out by Eliade, is the existence of a world axis (Axis Mundi) in Sacred places. According to Eliade, every temple, palace, or Sacred city is a Sacred cosmic mountain[41], with a center that represents a place of creation and constant renewal, around which the Sacred place is organized. Thus, Mount Moriah in Jerusalem serves as the cosmic mountain, with the foundation rock inside it representing the center of the world[42]. In this context, I’ve added the adjective “connecting” to the word “center.” It is my view that identifying the center externally leads to an act of centering, which in turn operates as a connecting center within us. Focusing on the center and the act of concentration bring about a different state of awareness, a change in perception, and consequently, a connection between the Sacred and the profane (a hierophany).

According to Rosen-Ayalon, “The Dome of the Rock in particular and the Temple Mount complex in general came to symbolize the navel of the world, Omphalos, where the tree of life grows, the Axis Mundi of the world. The plan of the complex reflects pre-Islamic influences, but mainly the concepts and beliefs related to the Garden of Eden, the Day of Judgment, and the resurrection, which passed from Christianity and Judaism to Islam. The rock is the center of the complex, just as the rock was the center of the Church of the Sepulchre.”[43]

The Sacredness Generator Connecting Center requires an interpretation, which to a certain extent is an orientation, so that it can connect the planes, so that the Sacred can appear through it (thus it differs somewhat from the usual definition of a world axis). In the case of the Dome of the Rock, the interpretation of the rock according to Muslim tradition is that it is the place from which the world was created, from which Muhammad ascended to heaven through the seven heavens on the way to meet God and receive from him the secrets of prayer, and where the Day of Judgment will occur[44]. This interpretation creates a connection between times as an example, because the time of creation is the time of Judgment Day, and therefore there is no time at all. The connection between the mythical times and the present is expressed in the arrangement of the building, and especially in its vertical axis – in the connection between the rock and the dome.

According to Muslim belief, under the foundation rock is the cave of spirits, connected to the underworld, where the souls of the dead await judgment day. On top of the rock in the center of the building, Muhammad’s foot is visible, and above the rock is the dome symbolizing the heavens through which he ascended to heaven. Thus, there is a vertical physical connection of three elements that connect to the world below the earth (both physical and the underworld), the earthly plane, and the heavenly spheres together, forming a world axis.

Another expression of the Sacredness Generator Connecting Center is the belief in the existence of an intermediate spirit world between this world and God, which is the throne of God. This belief is based on verse 255 in Surah 2 (The Cow) in the Quran, where it is stated that “His throne embraces heaven and earth”. This verse is engraved in its entirety at the top of the dome, indicating that the structure, or at least the dome, is seen as a sort of “God’s throne”, a place of Shekinah, God’s revelation in this world.

The graphic representation within the dome’s center depicts a small blue circle against a golden backdrop, serving as the focal point of the world—a meditative center within the mandala of the dome’s drum. The branching geometric decorations emanate from this central point, symbolizing a spiritual sun with its colors inverted to signify its significance. However, most visitors often overlook these intricate dome decorations, instead directing their attention to the rock itself. This shift in focus underscores the contrast between the natural rock and the constructed building. The rock becomes a focal point for concentration, prayer, reflection, and observation, particularly the isolated cave within it. By entering this cave and engaging in concentration and meditation, individuals can establish a connection with the unseen worlds.

Sacredness Generator Fractal Complexity in the Dome of the Rock

The experience of the Sacred within a place is facilitated by a shift in perception, transitioning from ordinary mundane awareness to perceiving archetypal Sacred patterns or generators. This transformation allows the place to reorganize itself into a new Sacred world image. For this phenomenon to occur, the place must possess sufficient size and complexity. Furthermore, the arrangement of the place should reflect archetypes of holiness, thereby contributing to the emergence of a distinct Sacred world image. Essentially, fractal complexity within a place serves as one of the generators of Sacredness, representing the fractal image of the ideal or spiritual world.

The Sacredness Generator Fractal Complexity is evident in both the architecture and art of the Dome of the Rock, as well as in its environmental relationships. The building serves as a fractal representation of the world, encapsulating elements of both heaven and earth. Its dimensions and geometric proportions create a harmonious structure that harmonizes a circle, a square, and an octagon, each symbolizing different aspects of existence [45]. According to Bennett, the dome signifies the sky, the square represents the earthly realm, and the octagon symbolizes the initial stage of the spiritual journey [46]. These geometric shapes hold significance in Muslim mysticism, reflecting the realms of archetypes and divine intelligences. Bennett suggests that the origins of mathematics trace back to the angelic realms, further emphasizing the spiritual depth inherent in geometric symbolism [47].

The uniqueness of the Dome of the Rock’s structure lies in the seamless integration of the circle of the dome with the octagonal base, achieved by extending the lines of the two squares enclosing the dome’s circle to form an octagonal star [48]. This combination of the square and circle forms a classic mandala pattern, as previously discussed [49]. However, the square’s presence extends beyond mere visibility; it is also implied in the dimensions of the structure. The height of the base of the dome matches its diameter, mirroring human proportions where the distance between open hands equals a person’s height, as depicted in the famous drawing of the Vitruvian Man [50]. In this context, the fractal aspect lies in the proportions of man, symbolizing the image of the spiritual world within.

In addition, the building conceals a hidden triangle: two isosceles triangles, each with a length equal to the diameter of the dome, form the height of the structure [51]. Furthermore, harmonious relationships of two-thirds and one-third are evident within the architecture: the width of the outer corridor of the octagon constitutes one-third of the dome’s diameter, while the height of the central columns precisely measures one-third of the dome’s apex height (forty meters). Even if these proportions are not consciously observed, they represent Sacredness Generator Fractal Complexity by mirroring the proportions found in both humans and nature. The ratio of two-thirds to one-third extends beyond physical dimensions to our perceptual experience, recognized for its aesthetic harmony in art. The fractal nature of perception, combined with this harmony, contributes to the sanctity of the building and its capacity to evoke feelings of Sacredness in visitors.

Moreover, according to Jung, the combination of a triangle, a square, and a circle yields the Philosopher’s Stone: “Make a round circle from a man and a woman, produce a square from it, and a triangle from it. Round the circle, and you will obtain the Philosopher’s Stone, the Rose of Philosophy (Rosarium Pohilosophorum)” [52]. Indeed, the amalgamation of these geometric shapes, concealed within the architecture of the Dome of the Rock, imbues it with qualities akin to the philosopher’s stone. This further supports the Dome of the Rock’s characterization as a nexus between worlds, the site from which Muhammad ascended to heaven, and the point of creation. Additionally, the adornments, particularly the golden mosaics, blue and green hues, glistening in the sunlight streaming through the stained glass windows, along with the columns encircling the rock and within the ambulatory, collectively foster a mystical ambiance, evoking a sense of reality transcending the mundane [53].

The Dome of the Rock stands as an almost flawless edifice in terms of its sacred dimensions and esoteric geometry, to the extent that some speculate it to be the temple referenced by Freemasons. According to this conjecture, David and Solomon of Freemasonry correspond to Abu Daud and Salman, who served as architects under Abd El Malek, the dome’s builder. Daud and Salman orchestrated the arrangement of twelve pillars and four tiers encircling the rock, supporting the dome. Surrounding this inner circle is another ring of sixteen pillars and eight tiers sustaining the octagon beneath the dome, ascending towards it. Further out lies another circle delineated by the walls of the octagonal structure, featuring four entrances oriented towards the cardinal directions. These three concentric circles symbolize the stages of world formation and reflect the contemporary worldview: the foundation rock and Jerusalem at the center, surrounded by land, which in turn is encompassed by the sea—an allegory akin to the Jewish tradition portraying the world as an eye, with Jerusalem as the pupil, the surrounding land as the iris, and the ocean as the white part of the eye.

The Sacredness Generator Fractal Complexity manifests not solely within the sacred geometry of the Dome of the Rock but also in its relationship to the surrounding environment, expressed in two distinct ways. One aspect is concealed and implied, evident in the volumes of domed structures that correspond to the Dome of the Rock. The other is visibly apparent, concerning the orientation and placement of the Dome of the Rock within the broader context of the Temple Mount and the Valley of Jerusalem.

The total diameter of the six small domes in the Gate of Mercy structure, situated northeast of the Dome of the Rock, equals the diameter of the Dome of the Rock itself. Additionally, the diameter of the dome in the nearby Al-Aqsa Mosque is half the diameter of the Dome of the Rock. While it’s evident that there is a correlation between the volume of the Dome of the Rock building and that of the Al Aqsa Mosque and other structures within the square, this aspect has yet to be thoroughly explored.

The Dome of the Rock is situated on a sprawling artificial expanse atop the Temple Mount, where an elevated complex stands, crowned by the dome of the rock building alongside other auxiliary structures. This elevated plaza is accessed via eight flights of stairs, each terminating in open arches. The arrangement of these arches and stairs holds symbolic significance, contributing to the overall layout of the complex. They form an unseen boundary, evoking a sense of sanctity that surpasses that of a physical barrier. Through the architectural elements of the complex, a hierarchy of sanctity is established, beginning with the expansive plaza, progressing to the inner square, continuing within the two ambulatory areas (comprising corridors and arches) within the building itself, and culminating at the rock and the dome above it, which represent the focal point of significance. Thus, a symbolic world image is crafted through these architectural features.

In essence, the Temple Mount is traversed by two primary axes connecting its central structures: one oriented in a north-south direction, and the other in an east-west direction. Along the east-west axis, prominent features include the primary western staircase, the corresponding eastern staircase, and the distinctive set of five arches at its terminus, which are unique in number (five does not appear anywhere else), and the Cupola of the Chain. This axis extends further to include the double gate located within the southern wall. Along the north-south axis stand the Dome of the Rock and the Al-Aqsa Mosque, with a staircase leading up to the upper square situated between them.

The Dome of the Rock not only relates to the buildings on the Temple Mount but also to the entire valley and the surrounding mountains. Jerusalem is nestled in a valley encircled by a ring of mountains, forming what is known as the Sacred basin. This landscape is distinct from the typical terrain found elsewhere. At the heart of this valley, precisely where lines connecting opposite mountain peaks intersect, lies the Moriah hill (Temple Mount) and the Dome of the Rock[56]. For instance, one such line connects Mount Scopus to Mount Zion[57]. The octagonal structure of the Dome of the Rock was built in alignment with this geographical feature. Each side of the octagon faces one of the eight peaks encircling the Temple Mount, as do the arches and stairs associated with it.

The field of vision from the Dome of the Rock and to it is particularly vast, spanning a large portion of the city. The Dome of the Rock stands out prominently in Jerusalem’s skyline, serving as the main focal point amid the city’s hustle and bustle—an axis of silence amidst the surrounding clamor. Conversely, the view from the Dome of the Rock is equally remarkable. Upon ascending to the elevated square, one discovers a panoramic vista of the mountains surrounding the Temple Mount, arranged in a circular formation. This vista is fully revealed only from the upper portion of the Temple Mount, imparting a sense of an amphitheater. The topographical and geographical circle unfolds with an orientation toward the east, directed towards the Mount of Olives—the highest peak in the vicinity and the traditional starting point of redemption in Muslim belief. Here, a connection is drawn between the circular panorama and a straight line, reminiscent of ancient stone circles, evoking a cosmic drama symbolized by the sun’s hues (blue and gold) and mirrored in the architectural structure of the Dome of the Rock.

According to Rosen-Ayalon, the dome should be viewed as part of a broader and intricate arrangement that encompasses the entire expanse, including the nearby Umayyad palaces—a result of Abd al-Malik’s planning in the late seventh century. Each structure within the expansion is intricately linked to a specific element and can be comprehended fully only through an analysis of its iconography’s meaning and interpretation in conjunction with the others. This is because there exist profound relationships among the various elements ([58] dramatic and meaningful).

Several Sacredness archetypes are present within the dome and its surroundings, including the division into four directions, the ratio of two-thirds and one-third, the presence of the octagon and the number seven, among others. These elements collectively constitute a Sacredness Generator Fractal Complexity, capable of evoking an inner religious experience in the visitors to the site. Everything is meticulously positioned; the octagonal structure harmonizes with the surrounding mountain peaks, as do the arrangement of arches and stairs within the plaza. This fractal complexity extends not only within the Dome of the Rock itself but also throughout the Temple Mount plaza and its relationship with the surrounding Sacred Basin ([59] Fractal within a fractal within a fractal).

Additionally, the Dome of the Rock holds significance as the place from which Muhammad ascended to heaven, traversing through the seven heavens to meet God on the eighth heaven and receive the secret of prayer. In early Muslim beliefs, these seven heavens were associated with the seven observable planets in the sky, with the central and most important star being the sun. The yellow and blue colors of the Dome of the Rock symbolize the sun in the sky and the existence of the seven heavens through which Muhammad ascended, while the number eight signifies what lies beyond them – the eternal realm of God. This concept reflects the fractal nature of the spiritual worlds, as expressed in Muslim mysticism’s notion of a seven-stage spiritual journey.

In conclusion

The Sacredness generators present within the architectural structure of the Dome of the Rock, the Temple Mount plaza, and their interconnectedness with the broader Jerusalem landscape, serve to evoke an internal religious experience among individual visitors to the site. These generators play a pivotal role in the widespread appeal of the Dome of the Rock. However, many visitors may not consciously recognize these elements. While they may appreciate the site’s aesthetic beauty, they often fail to fully embrace the mystical experiences it offers. Instead, their perceptions are often colored by historical and political interpretations.

The field of psychology of religion delineates two primary forms of religiosity: one characterized by a quest for security, morality, and adherence to routine, and another centered on inner mystical experiences [60]. The former emphasizes social identity and manifests externally, while the latter entails deep personal involvement and internal contemplation [60]. Among the general populace, the former type tends to predominate. This dichotomy underscores the distinction between personal, emotionally profound religiosity and the more structured, ritualistic religiosity associated with organized institutions [61]. Consequently, for individuals with an external approach to religion, the Sacred place often fails to evoke a profound sense of the Sacred. Such individuals may harbor preconceived notions and exhibit resistance to novel impressions. The capacity for mystical religious experiences necessitates the ability to reconcile seemingly contradictory perspectives simultaneously—a feat challenging for those who approach religion from an external standpoint [62]. The ego-driven excitement, preoccupation with self-identity, and disregard for others do not serve as adequate substitutes for the profound feelings associated with the Sacred.

I am optimistic that this article will facilitate the transition of the visit to the Dome of the Rock from an external religious observance to an internal spiritual journey. To achieve this shift, it is essential that visits to the site are undertaken individually and spontaneously, with an open and engaged mindset. Such visits should involve a personal process that unfolds gradually over time. However, delving into the nuances of this approach is a topic better suited for another article.

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Comments

[1] Like: Rosen-Ayalon, Myriam, The Early Islamic Monuments of al-Haram al-Sharif: An Iconographic Study, Jerusalem: The Institute of Archaeology, The Hebrew University of Jerusalem, 1989.

[2] בן אריה, זאב, מאפייני קדושה במקומות קדושים בישראל, חיבור לשם קבלת התואר מוסמך האוניברסיטה, אוניברסיטת חיפה, 2019.

[3] Eliade, Mircea, The Sacred and The Profane: The Nature of Religion, tr. Willard R. Trask, New York: Harcourt, 1959.

[4] Maslow, Abraham H., Religions, Values, and Peak-Experiences, Columbus, OH: Ohio State University Press, 1964.

[5] יונג, קרל גוסטב, פסיכולוגיה ודת, תל־אביב: רסלינג, 2005

[6] Ittelson, William H., Harold M. Proshansky, Leanne G. Rivlin, and Gary H. Winkel, An Introduction to Environmental Psychology, New York: Holt, Rinehart and Winston, 1974.

[7] Kandinsky, Wassily, Concerning the Spiritual in Art, Bexar County, TX: Bibliotech Press, 2012.

[8] Barrie, Thomas, The Sacred In-Between: The Mediating Roles of Architecture, Abingdon: Routledge, 2010.

[9] ג’יימס, ויליאם, החוויה הדתית לסוגיה: מחקר בטבע האדם, תרגם: יעקב קופליביץ, מהדורה שנייה, ירושלים: מוסד ביאליק. 1959.

[10] אוטו, רודולף, הקדושה: על הלא־רציונלי באידיאת האל ויחסו לרציונלי, תרגמה: מרים רון, תל־אביב: כרמל, 1999.

[11] אליאדה, מירצ’ה, תבניות בדת השוואתית, תרגם: יותם ראובני, תל־אביב: נמרוד, 2003.

[12] Rennie, Bryan S., Reconstructing Eliade: Making Sense of Religion, Albany, NY: State University of New York Press, 1996.

[13] Rosen-Ayalon, The Early Islamic Monuments of al-Haram al-Sharif, p. 12

[14] Ibid P. 60

[15] For example, Temple Church in London, or Frederick II’s castle, Castel del Monte, in Puglia, Italy.

[16] Ibid P.16

[17] ג’יימס, החוויה הדתית לסוגיה, עמ’ 179.

[18] Rosen-Ayalon, The Early Islamic Monuments of al-Haram al-Sharif, p. 56

[19] Ibid P. 60

[20] Grabar, The Shape of the Holyy, p. 70

[21] Kandinsky, Concerning the Spiritual in Art, pp. 73, 78

[22] Bennett, “Islam”, p. 106

[23] Ibid p. 66
more on the connection between the octagon and Muslim paradise tradition see: M. Anwarul Islam and Zaid F. Al-Hamad, “The Dome of the Rock: Origin of Its Octagonal Plan”, Palestine Exploration Quarterly 139 (2007), pp. 109-128

[24] Rosen-Ayalon, The Early Islamic Monuments of al-Haram al-Sharif, p. 6

[25] שילר, כיפת הסלע ואבן השתיה, עמ’ 43.

[26] Beit-Hallahmi and Argyle, The Psychology of Religious Behaviour, Belief and Experience, p. 95

[27] Ibid p. 6

[28] Myriam Rosen-Ayalon, The Early Islamic Monuments of al-Haram al-Sharif: An Iconographic Study, Jerusalem: The Institute of Archaeology, The Hebrew University of Jerusalem, 1989, p. 12

[29] Oleg Grabar, The Shape of the Holyy: Early Islamic Jerusalem, Princeton, NJ: Princeton University Press, 1996, p. 24

[30] שילר, כיפת הסלע ואבן השתיה, עמ’ 10.

[31] Clinton Bennett, “Islam”, in Jean Holm and John Bowker (eds.), Sacred Place, London: Continuum, 1998, p. 106

[32] The nocturnal voyage links Mecca and Jerusalem.Thus, the two cities are interconnected. In Islam, dichotomy and separation are non-existent, as it espouses a monistic view where all is unified. While Mecca is regarded as the world’s pivot, around which all else orbits, comprehending Islam’s essence necessitates acknowledging the sanctity of Jerusalem. Jerusalem acts as a conduit and a bridge to Islam’s antecedents and its successors, thereby augmenting Mecca’s significance.

[33] ג’יימס, החוויה הדתית לסוגיה, עמ’ 179.

[34] שילר, כיפת הסלע ואבן השתיה, עמ’ 10.

[35] Kenaan-Kedar, “Symbolic Meaning in Crusader Architecture”, p. 115

[36] Bennett, “Islam”, p. 106

[37] Ibid p. 108 TThe octagon stands as a symbol of mystical Islam globally. Muhammad’s ascension through the seven heavens, culminating in his encounter with God in the eighth heaven where he is bestowed with the secrets of prayer, illustrates this. The Quran states that God’s throne of honor is borne by eight angels, highlighting the number eight’s association with that which transcends nature, in contrast to the number seven, which represents the natural world order.

[38] יונג, פסיכולוגיה ודת, עמ’ 128.

[39] Armstrong, “Sacred Space”, p. 16

[40] Rosen-Ayalon, The Early Islamic Monuments of al-Haram al-Sharif, p. 49

[41] אליאדה, תבניות בדת השוואתית, עמ’ 227.

[42] The rock is revered as the point from which creation emanated, serving as the primary cornerstone in the materialization process. This concept parallels the Omphalos at Delphi, the Benben stone in Egypt, and, in a similar vein, the Golgotha rock within the Church of the Holy Sepulchre. Such a tradition is informed by, and draws upon, Jewish heritage.

[43] Rosen-Ayalon, The Early Islamic Monuments of al-Haram al-Sharif, p. 71

[44] שילר, כיפת הסלע ואבן השתיה, עמ’ 54.

[45] Rosen-Ayalon, The Early Islamic Monuments of al-Haram al-Sharif, p. 16

[46] Bennett, “Islam”, p. 106

[47] Ibid p. 98

[48] שילר, כיפת הסלע ואבן השתיה, עמ’ 10.

[49] יונג, פסיכולוגיה ודת, עמ’ 131.

[50] שילר, כיפת הסלע ואבן השתיה, עמ’ 11.

[51] Ibid

[52] יונג, פסיכולוגיה ודת, עמ’ 88.

[53] Rosen-Ayalon, The Early Islamic Monuments of al-Haram al-Sharif, p. 17

[54] Ibid p. 34

[55] Ibid p. 6

[56] The Dome of the Rock occupies a central position at the nexus of several intersecting lines: between Mount Scopus and Abu Tor, between the Mount of Olives and Givat Ram, between the crest of the Mount of Anointing and the Christian Quarter, and between the Governor’s Palace and the areas of French Hill and Ammunition Hill.

[57] שילר, אלי, כיפת הסלע ואבן השתייה, ירושלים: אריאל, 1976. עמ’ 43

[58] Rosen-Ayalon, The Early Islamic Monuments of al-Haram al-Sharif, p. 2

[59] שילר, כיפת הסלע ואבן השתיה, עמ’ 43.

[60] Beit-Hallahmi and Argyle, The Psychology of Religious Behavior, Belief and Experience, p. 4

[61] Ibid p. 35

[62] Ibid p.137