Our first task is to look at sacred art in a very ancient, primitive way, which seems strange to those of us who are accustomed to seeing art through the intricate lens of modern “standards.” This modern approach can be seen as strictly committed to the service of individuality only, expression. This is a universe beyond the way we should approach the definition of sacred art.
Let’s look at the great savant of traditional art, Dr. Anand. Let’s start with Kumaraswamy’s words.
The language of natural symbols, neither by private invention nor by consensus or mere tradition, is universal.” There is language.
It should be noted that although in modern art there can be nothing behind the aesthetic levels other than the artist’s person, the theory that traditional works of art were designed and enjoyed value requires that the appeal of beauty is not just to the senses, but to the intellect through the senses.
Therefore, sacred art, which is the height of traditional art, symbolizes its central content, which is to understand and revive the human intellect.
According to Frith Jeff Schwann, the purpose of sacred art is to communicate “spiritual truths on the one hand, and a heavenly presence on the other.” We must now consider the meanings of such seemingly simple words in terms of art as the modern world understands.
The above quote, like all sacred art, assumes that there is a vast eternal right that is beyond mankind at the same time but can be told at the same time, and he wants to communicate with himself! It is incomprehensible to modern, secular art that very limited people decide that they want to communicate according to the need to express themselves.
In one case, the central reality of the universe speaks, and in another, the human ego. Next, which artist could communicate “a celestial presence” and by what means? Certainly, there is no one who denies the existence of such a being, nor is there anyone who can comprehend the reality but who lacks a formal ‘language’ for the job, because only someone Not just the material, but the words, the movements, the paint, and whatever, the random combination of them can bring the ‘magic’ of expressing the indescribable.
We will be hard-pressed to find any coherent function that comes with modern art. In contrast, Shawn simply states that all sacred art “enables to illuminate the spirit of the central maps through a variety of maps, which enliven the movement of the mind by adding imperfections to it, and in doing so, he imposes a tendency towards the inner soul towards the moving soul. Does it lead to admission? As a result, the psyche must be calmed, thoughts gathered, dispersed, and for a time, we can feel at a very deep level of consciousness, reality is communicating with itself.
In order to create sacred art, no artist should be less than shaping facts, which in the divine realm are baseless. Just as the Word of God has been revealed to a specific people in a language and form that is comprehensible and compelling to them, so too, arguably, the followers of sacred art should use a specific language. Its job is to join its heavenly archeology and to ‘transport’ other believers in the community. This very difficult task requires intelligence, artistic skill, knowledge of the traditional framework within which the work is validated, and the most difficult thing, an ego that does not impose itself on the process.