"In Islam the Divine Art is in the first place the manifestation of the Divine Unity in the beauty..and regularity of the cosmos. Unity is reflected in the harmony of the multiple, in order and in equilibrium- beauty has all these aspects within itself. To start from the beauty of the world and arrive at Unity- that is wisdom."

A work of such profound importance--defining the meaning and spiritual use of Sacred Art through its symbolic content and dependence on metaphysical principles--could only have come from a scholar of the calibre of Titus Burckhardt. Wide in scope, covering Hindu, Buddhist, Christian, Islamic, and Taoist art, this work—unlike other books in its field—can help readers accomplish in themselves the very goals for sacred art (i.e. spiritual transfiguration). 

Every sacred art is deeply rooted in the religion from which it originates. This, however, does not imply that everything that could be called “religious art” is in fact sacred art (identifiable as such by its style and methods rather than by its models). Style and method are, above all, the vehicles of tradition, and tradition originates in the “revelation” which gave birth to each great civilization.

Burckhardt wrote both in his native German and in French. His range is tremendous: from modern science in its various forms through Christianity and Islam, to symbolism, Architecture and mythology.  The present work represents Burckhardt's penetrating analysis of a subject that is extremely important but, nevertheless, suffers from a host of misconceptions. A work of profound importance- defining meaning and spiritual use of Sacred art through its symbolic content and dependence on metaphysical principles. Presented is the art of Hinduism Christianity, Islam, Buddhism, and Taoism where "the artistic rules of each are not only deducible from existing works, but are confirmed by canonical writings and by the example of living masters."

"In Islam the Divine Art is in the first place the manifestation of the Divine Unity in the beauty.,and regularity of the cosmos. Unity is reflected in the harmony of the multiple, in order and in equilibrium- beauty has all these aspects within itself'. To start from the beauty of the world and arrive at Unity- that is wisdom."
There can be no doubt that Burckhardt blends in a masterly fashion a style that is eminently accessible with an insight of the utmost penetration: "The ultimate objective of sacred art is not the evocation of feelings nor the communications of impressions; it is a symbol, and as such it finds simple and primordial means sufficient; it could not in any case be anything mole than allusive, its real object being ineffable.

Excerpts from 'Sacred Art - East and West'

"One of the fundamental conditions of happiness is to know that everything that one does has a meaning in eternity; but who in these days can still conceive of a civilization within which all vital manifestations would be developed "in the likeness of Heaven"? In a theocentric society the humblest activity participates in this heavenly benediction. The words of a street singer heard by the author in Morocco are worth quoting here. The singer was asked why the little Arab guitar which he used to accompany his chanting of legends had only two strings. He gave this answer: "To add a third string to this instrument would be to take the first step towards heresy.

When God created the soul of Adam it did not want to enter into his body, and circled like a bird round about its cage. Then God commanded the angels to play on the two strings that are called the male and the female, and the soul, thinking that the melody resided in the instrument- which is the body- entered it and remained within it. For this reason two strings, which are always called the male and the female, are enough to deliver the soul from the body." This legend holds more meaning than appears at first sight, for it summarizes the whole traditional doctrine of sacred art.

The ultimate objective of sacred art is not the evocation of feelings nor the communication of impressions; it is a symbol, and as such it finds simple -and primordial means sufficient; it could not in any case be anything more than allusive, its real object being ineffable. It is of angelic origin, because its models reflect supra-formal realities. It recapitulates the creation- the "Divine Art"- in parables, thus demonstrating the symbolical nature of the world, and delivering the human spirit from its attachment to crude and ephemeral "facts". The angelic origin of art is explicitly formulated by the Hindu tradition. According to the A itareya Brahman every work of art in the world is'achieved by imitation of the art of the devas, "whether it be an elephant in terra-cotta, a bronze object, an article of clothing, a gold ornament or a mule-cart". The devas correspond to the angels. Christian legends attributing an angelic origin to certain miraculous images embody the same idea."

* * *

The spiritual style of Islam is also manifested in the art of clothing, and especially in the masculine costume of the purely Muslim peoples. This could be said to be a priestly costume that has become generalized, just as Islam “generalized” the priesthood by abolishing hierarchy and making every believer a priest, so that any Muslim can perform for himself the essential rites of his religion. The masculine costume of Islam is a synthesis of sacerdotal and monastic attire, and as such affirms masculine dignity; and the turban, called the crown or diadem of Islam is, according to the Prophet, the mark of spiritual and sacerdotal stature."

TABLE OF CONTENTS

* Introduction
* I. The Genesis of the Hindu Temple
* II. The Foundations of Christian Art
* III. “I Am the Door”
* IV. The Foundations of Islamic Art
* V. The Image of Buddha
* VI. Landscape in Far Eastern Art
* VII. The Decadence and the Renewal of Christian Art

The Fons Vitae Titus Burckhardt Series:

Mystical Astrology According to Ibn 'Arabi	Moorish Culture in Spain	Letters of a Sufi Master - The Shaykh ad-Darqawi	Alchemy - Science of the Cosmos, Science of the Soul

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