Architecture and Decoration of Christian Churches/Cathedrals, Jewish Synagogues and Islamic Mosques

A reflection on religious monuments, as well as their implements in relation to their faith and prayer use. This reflection uses the Jewish, Islamic and Christian religions as examples of study of medieval times.

Uniting both Sacer and Profanus religion is sacred, the cradle of the sacer, the intertwined reality of faith, and profane. It is in the cathedrals, churches, temples, synagogues and mosques where we connect the sacer and the profane, the home of prayers. Among the variety of religions and customs, it brings a gathering of sacred sectors, each with its own devout art and architectural composition, and its own apparatus for communicating with and praising the pious. The sectors are genuinely built with their grooves and tiles contributing to a more pious aesthetic, which are symbolic of their faith.

The nave, which was the main body of the church, provided the focal point for the high altar which was reserved for the clergy and extended from the entrance to the chancel, which developed from an apse flanked by the lower side aisles. This architectural design led to the development of the Gothic, Romanesque Christian abbey and cathedral basilica. The Saint-Denis abbey church is considered the first known Gothic structure in which Christians were able to worship. While Hagia Sophia was a former Orthodox basilica and later became an imperial mosque. Before Hagia Sophia became a mosque, it was a church dedicated to the wisdom of God, the logos, and the second person of the holy trinity. This structure since its inception has seen some changes ranging from being the first church, to the second and third churches to finally become a mosque, and is currently a museum.

Synagogue is a derived Hebrew word meaning meeting house. It is a place for prayer and assembled discussions. The five books of Moses are practiced in Judaism, the Torah, and the Jewish Bible. They pray facing Jerusalem and the structure of the synagogue is oriented towards it, since it is the final connection between priest and profane. Especially in synagogues, such as the Capernaum Synagogue (4th century BC), three doors can be seen. These three entry points may refer to earlier liturgical divisions of the three destroyed temple courts in Jerusalem. In the religion of Judaism, god is not figurative, and yet this notion is false because the synagogues in the districts have shown off their art. For example, the Dura-Eurpus synagogue, a well-preserved Roman garrison between the Roman and Sasanian empires, houses the Torah niche. The division of these designs provides a seven-branched chandelier, the Menorah, a continuing emblem of Jewish art. The number seven symbolizes perfection and completion and represents the commandment to keep the seventh day holy as stated in the Torah. Also seen is the continuous narration, of a chronological history against the wall painting of the life of Moses (239 AD). The screen has two images of Moses, one turning his rod towards the direction of the Red Sea while the other Moses leads the Israelites and mankind. Christians worship in churches, while Jews worship in synagogues, as a meeting point between the sacred and the profane, and between the profane and the sacred. Inside a synagogue, it is easy to find the western wall, as it usually has a Torah niche, which orients those praying towards Jerusalem.

Medieval Jewish synagogue architecture differed from place to place, absorbing the architectural aesthetics of Christian or Muslim countries where Jews resided. Unlike the Christian church, whose cruciform design symbolizes the crucifixion of Christ, the synagogue lacked an architectural design that was a symbolic determinant.

Inside the synagogue, certain mandatory architectural elements provided liturgical purposes. Positioned in the center of the synagogue was a raised platform on which the Torah scroll was read, and it was also called bimah among Ashkenazi Jews and among Sephardim it was called tebah.

The architectural importance of the bimah reflected the meaning of the Torah within Jewish rituals. The Torah scrolls were stored in the Holy Ark, meaning the Ark of the Covenant, which was known as aron ha-kodesh among the Ashkenazis and hekhal among the Sephardic Jews. The position of the ark is such that those in front of it pray facing Jerusalem. Before the sixth century, the ark was kept in a side room and out of sight from which it was separated by a curtain. During the Middle Ages, the Holy Ark was fixed in the center of the eastern wall of the synagogue, which faced Jerusalem. The scrolls were lined up in a standing position for the congregation to view open in the ark. In turn, the ark, which was richly decorated with lions, was a symbol of Judah and the tablets of the 10 commandments. As seen, the curtain referred to as the parokhet covered the Holy Ark according to the Scriptures (Ex. 40:21). In this way, the aron ha-kodesh symbolizes the Jewish tabernacle that was built while the Israelites were wandering in the desert. The eastern wall should have a semicircular apse, and the gatehouse should be through the western wall facing the apse.

The prehistoric priestly obligation to keep a candle lit so that it burns eternally before the Lord (cf. Lv 24, 4) was also transferred to the eternal light, which hung in front of the ark and was kept burning continuously. The eternal light candlesticks were made of silver, brass, or gold, depending on the wealth of the community, and symbolized the enlightened spirituality of Torah. In addition, the synagogue had another desirable feature, that of the window. In keeping with the belief of Daniel 6:11, the prophet’s place of prayer had a window. During prayers in the synagogue, the parochet is used to cover the Torah ark, which holds the Torah scrolls inside the synagogue. In several synagogues, the parochet is worn throughout the year and replaced on holidays.

The Dome of the Rock, a shrine located on the Temple Mount within the Old City of Jerusalem, is considered one of the oldest Islamic architectural works, the significance of the site originating from religious traditions, which hold great value for Jews, Christians and Muslims alike. Christians view the location of the dome as sacred because of the role the temple played in the life of Jesus Christ.

To orient towards Mecca for prayers, the mihrab would be used. The mihrab appears to have been a newer version of the Torah niche and apse. Due to the requirement that a person be disconnected from the secular space immediately around them, the need for a prayer rug was created. Similarly, the Torah scrolls of the medieval Ashkenazi world are read on the bimah, or raised platform, which is centrally located. All seats face the Holy Ark (aron). Furthermore, the aron is one of the numerous successors to the Torah niche, where the scrolls are kept.

In conclusion, it can be said that the art and architecture of medieval Jews, Christians and Muslims were consistently shaped by the demands and dogmas of their respective religious beliefs. To varying degrees, Christian, Muslim, and Jewish artists and architects adopted the artistic, aesthetic, and architectural legacies they drew from ancient Roman, Hellenistic, Persian, and other cultures. In addition, the direct cultural contacts of Jews, Muslims, and Christians manifested themselves within their respective material cultural productions in various ways. People during medieval times readily adopted and adapted each other’s artistic techniques to create their own. It was not uncommon for Muslim and Christian monarchs to have artists from different religious communities working for them. All three communities used religious artistic symbols in art and architecture for controversial reasons.