The Sacredness Generator Sublime Extraordinary

According to Eliade, “the strange and the unusual are disturbing phenomena, which indicate the presence of another ‘something’, which is not ‘natural’, a presence or a call, in the sense of an appeal to those who are meant for it, on behalf of that other ‘something'”[1]. This other something is the sacred and the eternal, and Eliade is actually saying that what generates it, what makes possible its arrival, the hierophany, is the extraordinary and the strange. According to Rennie [2], the transformation is not initiated by an external force but rather by an internal shift in perception—a form of awakening. From my understanding, this occurs through encounters with exceptional phenomena external to oneself. However, it’s not just any unusual encounter that leads to this transformation, but encounters with the sublime, the exalted, and all that embodies the numinous. In essence, as the alchemists believed, one must possess gold to create gold; similarly, the Sacredness Generator Sublime Extraordinary represents the catalyst for this transformation, whether stumbled upon by chance or pursued deliberately during one’s lifetime.

Two modes of perception operate within humans, with the capability to transition between them. The Sacredness generators facilitate and at times even provoke this shift, activating an alternate perception that allows the emergence of the “other reality.” Given the extraordinary and sublime nature of this reality, it becomes evident that the Sacredness Generator Sublime Extraordinary plays a central role in this transition. Eliade’s terminology, and to a large extent Maslow’s as well, delineate two planes of existence: one mundane and profane, the other sacred and eternal. The transition between them is a Hierophany. As I interpret it, this transition is aided by encountering something unusual in relation to its surroundings. However, it’s not just any anomaly, but one that already contains elements from the sacred plane. While humans primarily reside within the earthly and sensual reality, our perception sometimes unveils the sacred and spiritual realm. Yet, for this realm to manifest, it requires an anchor through which the sacred can penetrate the profane plane of existence.

As an example, in ancient animistic belief systems, certain extraordinary natural locations were sanctified and believed to possess a unique anima. For instance, in the Shinto tradition, Mount Fuji in Japan, or Mount Hermon among the Canaanites, were revered. The remarkable feature shared by both is their height and size, especially in relation to their surroundings—they tower over their environment. However, not every extraordinary physical feature necessarily leads to the Hierophany of the sacred, nor does every towering mountain become consecrated. It can be argued that a sacred mountain will exhibit an unusual characteristic, but not every unusual mountain will achieve sanctity (similar to the adage, “every prophet possesses qualities, but not everyone with qualities is a prophet”). What determines the outcome is the inclination of the extraordinary: is it towards the grotesque, the exaggerated, the passionate, or towards the ideal, the divine, the eternal, the beautiful, and the sacred? This is where the element of the sublime comes into play. If indeed there are two modes of perception and awareness [7], or two levels of experience [8], then there must be a connection between the extraordinary and the sacred, and that connection is the sublime.

The sacredness generators operate simultaneously, and there exists a correlation between the Sacredness Generator Sublime Extraordinary and the Sacredness Generator Connecting Center. Often, the unusual, due to its distinctive feature, becomes a focal point for orientation. Eliade elucidated that the potency of the sacred manifests through a fixed point within the secular realm, stating that “Hierophany cancels the secular and reveals a fixed point” [9]. He referred to this point as the axis of the world [10], yet he did not provide an explanation for the transition from the secular plane to the sacred plane. However, even if a center exists, it may not inherently facilitate movement between the planes of existence. The movement is instigated by the Sacredness Generator being activated, aided by the other generators.

All charismatic sacred sites possess some form of unusual feature within them, whether physical or not [11], which generates Sacredness. In many cases, this feature naturally becomes a point of reference or orientation, serving as the center from which the site unfolds. For instance, at the Western Wall, it is the stones of extraordinary size, comprising the Wall of Tears, that capture the attention and establish the focal point. In the Dome of the Rock, it is the extraordinary aesthetics [12], drawing believers towards the dome itself and evoking wonder as a reference point. At the tomb of Rabbi Meir Baal Haness, it is the extraordinary story of the miracle itself. In numerous instances, the Sacredness Generator Sublime Extraordinary becomes a world axis, functioning as a Sacredness Generator Connecting Center, thereby disrupting the homogeneity and formlessness of undifferentiated profane existence [13]. However, this generator (sublime extraordinary) is not confined solely to the center of the sacred site; it can manifest in various locations within the sacred site and in diverse contexts relative to it.

According to Jung, the human psyche transcends individuality. In times of disturbance or unforeseen events, instinctual forces manifest in unexpected and unfamiliar ways, akin to the panic induced by a lunar eclipse [14]. The conscious mind, likened to an island amidst the subconscious ocean, finds itself exposed to the tumultuous waves of the unexpected. Consciousness, thus, resembles an island amidst the vast expanse of the subconscious; religious experiences emerge from the depths of the subconscious and assert themselves upon the individual [15]. Therefore, the eruption of religious experience from the subconscious is often triggered by the unexpected—an encounter with the Sacredness Generator Sublime Extraordinary at the sacred site.

The subconscious isn’t merely a repository of urges, repressions, and neuroses—such as the panic induced by a lunar eclipse—but also harbors the potential to tap into human developmental urges and collective archetypes embedded within the collective subconscious, guiding us towards self-realization [16] and ushering forth experiences of the Sacred. These archetypes, residing within the subconscious, give rise to inner religious experiences, known as numinous experiences [17]. The numinous permeates mundane events and places. I argue that when Sacred places possess a Sacredness Generator Sublime Extraordinary, it facilitates the emergence of numinous experiences—the Sacred.

Moreover, if religion, in its inner and spiritual dimension, emerges from the subconscious and imposes itself on humanity, as Jung asserts, then historically, institutionalized religions have served to mediate and temper the religious experience. They facilitate its assimilation into the individual’s personality, thereby safeguarding the believer’s existing mental order. Religions provide a cushioning ritual, a protective layer against the numinous. Similarly, Sacred places act as mediators; they serve as reference points that soften the stark manifestation of the numinous. Visiting these Sacred places becomes part of a ritual through which the numinous can manifest.

Jung contended that symbols act as intermediaries between the sacred and humanity. These symbols manifest in the sacred architecture and art of ancient civilizations, often stemming from ancient systems of thought and religion [18]. Therefore, by emulating the buildings, art, and objects of antiquity, one can establish a connection to the collective subconscious. Furthermore, it can be argued that the sacred place itself serves as a symbol, or a system of symbols. Indeed, a significant aspect of Jung’s individuation process—his connection to the sacred—unfolded through the construction of a complex house in the Swiss village of Bollingen. This house partly incorporated elements from past traditions while also expressing universal symbols [19]. In essence, Jung erected for himself a sacred place designed to facilitate his connection to the self with the aid of collective archetypes (generators).

The Sacredness Generator Sublime Extraordinary often manifests as a connection to elements from the past, typically through unusual events, extraordinary objects, and buildings. For instance, the revelation at Mount Sinai, a central theme in Jewish religious ritual, serves as a Sacredness Generator, as do the Tablets of the Covenant. These are Hierophanies [20], and their presence in a Sacred place, even symbolically, constitutes a Sacredness Generator Sublime Extraordinary. The appearance of the past within the present is inherently extraordinary, and this phenomenon was also one of the captivating aspects of the house in Bollingen.

The Sacredness Generator Sublime Extraordinary prompts individuals to focus their attention on the Sacred site, marking the initial step in the perceptual transformation towards experiencing the Sacred [21]. At any given moment, an individual can concentrate on a specific object, a limited set of events, names, or memories. However, the unusual nature of the Sacred site compels them to direct their awareness to the place where the Hierophany occurred. This focused attention, both conscious and unconscious, engenders an orientation reflex—a connection with an object, a place, or a narrative through which the sacred may manifest. The act of directing attention delineates the world into the sacred, upon which focus is placed, and the profane, which remains unattended. According to environmental psychology, adjustments to the environment often occur beneath the level of conscious awareness. It is only when the environment undergoes change that we become conscious of it, prompting us to consciously adapt. This underscores the significant role of the extraordinary [22]; individuals are not cognizant of the Sacred place until they encounter a deviation from the norm. Even if a place is designated as sacred, from the visitor’s perspective, it remains profane until something extraordinary captures their attention or occurs.

However, mere attention is insufficient. Following that, something more is required to extricate the individual from their usual state of mind and immerse them in a state of wonder and awe—this is the sublime. The Sacredness Generator Sublime Extraordinary prompts individuals to exclaim in wonder, “What is this?!” Their astonishment disconnects them from ordinary existence and enables a connection with the sacred [23]. It must be a wonder of something exalted, marvelous, and sublime.

An unexpected alteration in the perception of the environment, such as noticing an unusual element in the landscape, alters the individual’s usual attitudes and behaviors. In the same manner that established behaviors adhere to fixed parameters, they can be disrupted by the unexpected arrival of an unexpected guest to a family dinner; the extraordinary visit alters the customary behavior at the table. This signifies that the unusual awakens new possibilities in an individual [24].

According to the interpretive approach of environmental psychology, individuals construct their worldview internally, and the unusual aids in shaping a different worldview from the norm. Kevin Lynch posited that distinctive and prominent details within an environment can either diminish or enhance its imaginative quality [25]. Thus, in a religious context, the unusual can guide the imaginative mind towards the sacred. However, sometimes the appropriate context is necessary for this generator to be effective. Experience, as outlined in environmental psychology, plays a crucial role in shaping the imaginary perception of a place, along with the associated judgments, needs, expectations, and goals. This is why experts have a keen eye for subtleties that ordinary individuals may overlook [26].

Studies in the psychology of religion indicate that three characteristics of the religious experience are closely linked to the Sacredness Generator Sublime Extraordinary, namely: a sense of transcending time and space, encountering paradoxical situations beyond logic, and encountering something indescribable in words [27]. Therefore, the religious experience is elicited through encounters with phenomena that mirror its own characteristics at the perceptual and physical levels, akin to the principle of “like attracts like.”

The Sacredness Generator Sublime Extraordinary initially triggers a physiological response, focusing attention and initiating the reconstruction of the world image through orientation, categorization, and arrangement [28]. Additionally, it aids in interpreting the Sacred place, directing interpretation towards the sacred and sublime. Ultimately, this generator serves as a gateway to an alternate plane of perception and existence, allowing unusual feelings and sensations to pass through. The process commences with an emotional impact and culminates in an experience of the Sacred. Extraordinary phenomena can vary in nature, with the simplest including size, height, and space.

Size, height and space

According to Eliade, “the experience of a sacred space enables the ‘creation of the world’. Where the sacred reveals itself in space, the real reveals itself” [29]. Thus, a space of unusual size and height facilitates the emergence of the extraordinary world of the Sacred. It’s not merely the sensation of a small person confronted by a vast expanse that contributes to the numinous experience of being created and part of creation, but also the very disparity in size. Therefore, the extraordinary size of the stones of the Western Wall, for instance, serves as a Sacredness Generator Sublime Extraordinary.

The space a person occupies is perceived as having multiple layers. The first and most fundamental layer is the body, followed by the projection of our body into the surrounding environment, particularly in relation to constructed spaces such as houses [31]. If this holds true, then being inside an unusually large space or a house can evoke a distinct inner sensation compared to being in a “normal” space. This sensation can contribute to activating a shift in perception, leading to the experience of the Sacred. For instance, upon entering a Gothic cathedral, individuals often experience a sense of smallness and insignificance in comparison to the grandeur and scale of the church. However, this feeling of insignificance is a reaction of the ego; in terms of the self, the psyche can expand its consciousness and sense of identification. When inside a Gothic cathedral, individuals do not feel humiliated; rather, they feel uplifted [32].

Height serves as another extraordinary element that evokes sacredness. There is an innate aspiration within humans to reach upwards, and height is considered a Hierophany that highlights the infinite expanse of the sky [33]. According to Rappengluck, a person’s perception of their surroundings is topocentric, occurring while standing or sitting upright rather than lying down. This is significant because it allows the zenith to connect with the nadir—an imaginary point located on the dome of the sky above the observer’s head. “Following a person’s standing, the sense of balance creates the first world axis that connects the nadir, the place where a person is, and the zenith (that is, from the center of the earth through the body standing straight up to the sky)” [34]. This world axis directs humans towards the celestial center, a realm associated with divine blessings. It is a world axis symbolized by a pillar or a tree of life, both characterized by their height.

Standing upright accentuates the vertical dimension, drawing one upward towards the sky and downward towards the earth, thereby bridging the planes. Height amplifies this movement and fosters a connection with it. Extraordinary height, in particular, firmly directs us towards heaven—the revelation (hierophany) of the sacred and divine [35].

As previously mentioned, Otto posited that the height and spaciousness of cathedrals evoke in individuals a numinous feeling of being part of something greater that transcends individual existence. Space reflects both the order of the universe and the human body. Extraordinary height contributes to triggering experiences of elevation and transcendence [36]. James noted that certain mystical experiences are linked to height, often occurring during journeys to high places such as mountain tops [37]. Meanwhile, Eliade described the cosmic mountain as an Axis Mundi [38]. Though symbolically represented, it is often manifested as a physical mountain, such as the hill of Golgotha, distinguished by its height in comparison to its surroundings.

Certainly, some of the charismatic Sacred places, like the Church of the Transfiguration on Mount Tabor, are situated atop mountains, symbolizing the cosmic mountain. Many of these locations are elevated, featuring remarkable elements of size and height. Numerous peak experiences in nature occur in places with extraordinary height, size, or volume. Being in a lofty location—whether on a cliff or at a mountain peak—where the vista is expansive and one feels akin to a bird, can evoke an inner religious experience, particularly when accompanied by a breathtaking view..

Beauty and art

The Sacredness Generator Sublime Extraordinary can manifest in various forms, not solely in physical extraordinary dimensions, as long as it is oriented towards the sacred. One of its most captivating manifestations is extraordinary beauty, whether natural or man-made (including works of art), which evokes an aesthetic experience. Beauty, by its essence, deviates from the ordinary state of affairs, but not all beauty culminates in a complete aesthetic experience. It’s important to distinguish between “ordinary” beauty and extraordinary beauty—the latter resonates with universal human truths. While many statues possess beauty, it is said that only the statues of Phidias (Φειδίας, fifth century BC) in the Parthenon in Athens have elevated the realm of religion to new heights.

The presence of extraordinary beauty within a Sacred site often elicits an aesthetic experience among certain visitors, thereby contributing to the onset of religious experiences. Human inclination tends towards perceiving oneself as an integral part of their surroundings; individuals identify with the space they inhabit, considering it an extension of themselves, thus shaping their self-awareness. Consequently, when placed in an environment of extraordinary beauty, individuals perceive themselves through an aesthetic lens, noticing nuances that might otherwise escape their attention. For instance, one wouldn’t attend a formal event dressed in casual attire amidst a sea of well-dressed attendees. External surroundings significantly influence our self-perception; thus, extraordinary beauty in the external environment inevitably fosters a connection with the extraordinary within us. However, it is crucial that this beauty be of sublime quality—refined and elevated—for the aesthetic experience to evolve into an inner religious experience. It’s important to clarify that beauty transcends mere stimulation and attraction; rather, it embodies a more nuanced quality, best described through aesthetic terms (refer to the chapter on aesthetic experience as a metaphor for religious experience).

A charismatic Sacred place, often serving as a catalyst for inner religious experiences, is typically characterized by aesthetic and artistic beauty. Among the noteworthy examples mentioned in this text, the Dome of the Rock stands out prominently. The Baha’i gardens, the Zawiya in Acre, and the Church of Transfiguration on Mount Tabor are all exquisite masterpieces of art. Their beauty is evident in both architectural design and decorative elements. Works of art adorn all these charismatic Sacred sites, including the Western Wall, suggesting that art contributes significantly to a place’s charisma. My contention is that art plays a role in triggering inner religious experiences when it is directed towards the divine. Various religious traditions assert that earthly beauty serves as an expression and symbol of divine beauty. For instance, in Sufi mysticism, beauty serves as a pathway to connect with God, embodying half of the ninety-nine divine names [39]. Essentially, what they express in their terminology is that beauty can serve as a Sacredness Generator.

Otto’s concept of the numinous also encompasses beauty. One of the six numinous manifestations of the Sacred, referred to as “the fascinans,” is elucidated by Otto as follows: “The divine is the highest, the most powerful, the best, the most beautiful, and the most precious thing that a person can conceive of” [40]. This portrayal of God as beautiful resonates across various religious traditions and is reflected in endeavors to embellish temples and places of worship. James contends that aesthetic elements such as color, jewelry, and liturgy contribute to a sense of grandeur, thereby enhancing the religious experience. Frescoes, marble, stained glass windows, and other decorative elements exemplify the artistic richness that holds significant sway over the imagination of many individuals [41].

Beit-Hallahmi and Argyle propose that individuals with a religious orientation share similarities with those who are artistically inclined, suggesting that aesthetic processes can support religious sentiments [42]. A closer examination of Sacred places underscores this notion, particularly within Christianity, evident in the art and architecture of churches, as well as in other religious traditions. Even within Judaism, where the making of statues and images is prohibited, there remains a place for art, as evidenced by the significant role of Bezalel ben Uri, the builder of the tabernacle (Exodus 1-1; La 3).

Beit-Hallahmi and Argyle draw a comparison between religion and art, suggesting that both provide individuals with an emotional outlet and cognitive meaning. They posit that religion and art serve as a retreat from reality to imaginary solutions, thus representing symbolic products of human anxiety, passion, and imagination within the social milieu. Both religion and art are seen as forms of wish fulfillment, reflecting the tension between individual desires and societal norms. Consequently, individuals emotionally engaged in religion are likely to also engage with art [43]. While these insights shed light on the relationship between religion and art, caution should be exercised in reducing them to mere “retreats in the service of the ego.” Instead, religion and art have the potential to connect us to a sublime reality beyond ourselves, transcending the individual ego and leading towards the self—the super ego.

Research in religious studies indicates that exposure to artistic beauty can evoke the numinous religious feeling. High-quality and unconventional art possesses a potent noetic quality, capable of transporting individuals to realms of the magical and the wondrous. Berrie contends that sacred architecture is intended to evoke a response; one of the methods by which this is achieved is through beauty, which engages and captivates visitors to the site, leaving them anything but indifferent. Berrie suggests that beauty enables individuals to perceive the hidden beauty inherent in the world [44].

Some art researchers arrive at a similar conclusion. Kandinsky’s notable work, “On the Spiritual in Art,” presents the argument for various stages in the encounter with a work of art. Initially, there’s the sensory impression. Following this, and concurrently, there’s improvisation, an inner spiritual impression. This stage varies for each individual based on their mental makeup. Finally, after further contemplation, the composition emerges—an arrangement in space involving cognitive processes that incorporate previous reference points in the journey [45].

According to this model, an external encounter with something in the Sacred place that becomes a Sacredness Generator Sublime extraordinary, can evoke a profound spiritual inner impression, leading subsequently to the emergence of a Sacred experience. In this framework, the unusual phenomenon creates an impression, followed by a blending of recognition, drawing upon reference points from the past. Eventually, a composition emerges that may manifest as a religious experience. For instance, if the unusual occurrence is a sudden and remarkable appearance of light, the subsequent interpretation may vary—for Christians, it could be perceived as the apparition of Mary, while for Muslims, it might signify the light of Muhammad.

According to Kandinsky, the interplay between nature and art yields a cognitive psychological effect intertwined with metaphysical symbolism. Consequently, the artist discerns divine Hierophanies inherent in nature. As a result, the artist is tasked with guiding society towards evolution, fostering a fresh assimilation of natural forms [46]. It’s akin to someone imbuing an individual with an archetypal sequence of impressions gleaned from observing nature, embedding clues towards the spiritual future development of humankind. What undergoes change is not the reality of nature per se, but rather our perception of it, offering insights into the function of sacredness generators in perceiving Sacred places.

My contention is that extraordinary works of art, capable of eliciting aesthetic experiences and conveying powerful emotional messages, can also evoke religious sentiments and engender a Sacred experience. Indeed, throughout history, some of the most profound religious feelings have found expression in magnificent works of art, such as Michelangelo’s Pietà. I am inclined to believe that the reverse process is equally plausible and occurs in practice.

There exists a debate among scholars regarding whether the aesthetic principles of art are universal and objective, stemming from human perception, or if they are subjective and culturally contingent. However, when examining the subject of proportions in artwork, it becomes evident that certain principles are indeed universal. For instance, the ratio of two-thirds to one-third is universally considered harmonious, as is the dynamic of the golden ratio. This universality extends to color compositions as well, where combinations such as yellow and blue are deemed harmonious across cultures. This stems from the inherent qualities of these colors, with yellow representing radiance and blue representing subtlety, as well as their symbolic association with the sun and the sky. The existence of these universal aesthetic principles suggests the possibility of analogous governing principles underlying the inner religious experience, which, in my perspective, manifest as the Sacredness generators.

Art criticism underscores the existence of universal, objective principles that dictate how artistic works are perceived as beautiful. Jan Mokajowski asserted the presence of universal aesthetic norms rooted in the human organism[47]. These norms include symmetry, the maintenance of the body’s center of gravity, and a rhythm corresponding to the breathing rate. While Mokajowski cautioned against strictly adhering to these norms to avoid monotony in art, his work is significant in acknowledging their existence. Similarly, there exist universal Sacredness generators grounded in our organism and perceptual faculties. Whether one is Chinese, African, female, or a member of an Indian tribe, standing on a cliff in the Judean desert at sunrise evokes a sense of exaltation. Likewise, visiting the Church of the Transfiguration on Mount Tabor elicits a recognition of its beauty and, for some, may trigger an experience of the Sacred.

The experience of the Sacred in charismatic sacred places, akin to the aesthetic experience of art, is not universally and uniformly perceived by all individuals, despite being rooted in universal archetypes inherent to human perception. Just as there are individuals who may view Picasso’s paintings and dismiss them as nonsensical or find Mozart’s music tedious, the reception of the Sacred varies among people. This does not negate the presence of universal archetypes or objective truths in human perception underlying Picasso’s paintings or Mozart’s music. However, the comprehension of the narrative conveyed by these artworks requires language, and cultural context plays a significant role in facilitating or impeding the experience of the Sacred[48]. In many cases, cultural background acts as a barrier to the experience of the Sacred, and to some extent, to the appreciation of art as well.

I concur that the mystical experiences documented throughout history across diverse cultures and religions, such as the experience of the Sacred, are inherent to human nature[49], much like the aesthetic experience. While these two phenomena are closely intertwined, they are not identical. I utilized the aesthetic experience as a metaphor for the religious experience, but it is essential to recognize that they are distinct phenomena. The aesthetic experience can be considered as related to the experience of the Sacred, and it can also serve as a catalyst for the religious experience. According to Otto, the artistic experience bears significant resemblance to the mystical experience and is imbued with profound religious sentiments[50].

An extra ordinary artistic work is not necessarily a large-scale work. The uniqueness is in the quality of the work. According to Otto, beauty cannot be quantified or framed, yet it needs optimal conditions to be fully expressed[51]. Berrie describes beauty as one of the factors that bring about the quieting of man, which allows him to connect to the other plane, the sacred[52]. There is something in an extraordinary work of art, in extraordinary beauty, that causes one to stop in one’s place and be filled with feelings of wonder and awe, as if moving at once to another plane of existence, which is eternal and sacred, where the experience of the Sacred takes place, art is related to the “sublime” part of the “Sacredness Generator Sublime extraordinary”, And this to the extent that it is directed towards the divine beauty.

Foot Notes

[1] אליאדה, תבניות בדת השוואתית, עמ’ 27

[2] Rennie, “Mircea Eliade and the Perception of the Sacred in the Profane”, p. 75

[3] אוטו, הקדוּשה, עמ’ 31.

[4] שם, עמ’ 32.

[5] Eliade, Patterns in Comparative Religion, p. 32

[6] גירץ, פרשנות של תרבויות, עמ’ 10.

[7] Rennie, Reconstructing Eliade, p. 75

[8] אליאדה, המיתוס של השיבה הנצחית, עמ’ 13-11.

[9] Eliade, The Sacred and The Profane, p. 28

[10] Ibid Pp. 36-38

[11] בן אריה, מאפייני קדוּשה במקומות קדושים בישראל, עמ’ 16.

[12] Grabar, The Shape of the Holy, p. 24

[13] Eliade, Patterns in Comparative Religion, p. 75

[14] יונג, פסיכולוגיה ודת, עמ’ 44.

[15] שם, עמ’ 120.

[16] יונג, פסיכולוגיה ודת, עמ’ 44.

[17] אוטו, הקדוּשה, עמ’ 10

[18] שם, עמ’ 68

[19] Barrie, The Sacred In-Between, p. 65

[20] Eliada claims that “in the structure of the temple and the vessels there is a divine presence, their pattern was revealed to Moses on the mountain”. See Eliade, The Sacred and the Profane, p. 60

[21] Rennie, “Mircea Eliade and the Perception of the Sacred in the Profane”, p. 75

[22] Ittelson et al., An Introduction to Environmental Psychology, p. 12

[23] אוטו, הקדוּשה, עמ’ 61.

[24] Ittelson et al., An Introduction to Environmental Psychology, p. 91

[25] Kevin Lynch, The Image of the City, Cambridge, Mass.: The M.I.T. Press, 1964, pp. 9-13

[26] Ibid p. 114

[27] Beit-Hallahmi and Argyle, The Psychology of Religious Behavior, Belief and Experience, p. 75

[28] Ittelson et al., An Introduction to Environmental Psychology, p. 96

[29] Eliade, The Sacred and The Profane, p. 63

[30] אוטו, הקדוּשה, עמ’ 12

[31] Shiner, “Sacred Space, Profane Space, Human Space”, p. 427

[32] אוטו, הקדוּשה, עמ’ 79.

[33] Rennie, Reconstructing Eliade, p. 12

[34] Rappenglück, Michael A. “The Housing of the World”, p. 397

[35] אליאדה, תבניות בדת השוואתית, עמ’ 38.

[36] אוטו, הקדוּשה, עמ’ 17.

[37] James, The Varieties of Religious Experience, p. 45

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

[39] Laleh Bakhtiar, Sufi: Expressions of the Mystic Quest, London: Thames and Hudson, 1976, p. 66

[40] אוטו, הקדוּשה, עמ’ 48.

[41] James, The Varieties of Religious Experience, p. 460

[42] Beit-Hallahmi and Argyle, The Psychology of Religious Behavior, Belief and Experience, p. 14

[43] Ibid Pp. 14-15

[44] Barrie, The Sacred In-Between, p. 229

[45] Kandinsky, Concerning the Spiritual in Art, p. 109

[46] Ibid Pp. 102-107

[47] יאן מוקאז’ובסקי, פונקציה, נורמה וערך אסתטיים כעובדות חברתיות, תרגמה: נירה צפריר, תל־אביב: הקיבוץ המאוחד, 1983, עמ’ 25, 31.

[48] Ittelson et al., An Introduction to Environmental Psychology, pp. 113-114

[49] Not all scholars agree on the universal nature of the mystical experience. See Boaz Huss’s book, The Question of the Existence of Jewish Mysticism: The Genealogy of Jewish Mysticism and the Theologies of Kabbalah Research, Jerusalem: Van Leer Institute and the United Kibbutz, 1956.

[50] אוטו, הקדוּשה, עמ’ 151.

[51] שם. עמ’ 155.

[52] Barrie, The Sacred In-Between, p. 221