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Hierotopy (from , sacred + , place, space) is the creation of sacred spaces viewed as a special form of human creativity and also a related academic field where specific examples of such creativity are studied. The concept and the term were developed in 2001 by Russian art-historian and byzantinist Alexei Lidov.〔A. Lidov. "Hierotopy. The creation of sacred spaces as a form of creativity and subject of cultural history" in ''Hierotopy. Creation of Sacred Spaces in Byzantium and Medieval Russia'', ed. A.Lidov, Moscow: Progress-Tradition, 2006, pp. 32-58〕 Hierotopy accounts for the ways in which a vast array of media (e.g. religious images, ritual, song, incense, light) are used to organize sacred spaces. As an academic field, it spans the disciplines of art history, archeology, cultural anthropology, ethnology and religious studies, but it possesses an object of study and a methodology of its own. It differs from the phenomenology of the sacred (which has been studied by Mircea Eliade, Rudolf Otto and Pavel Florensky) insofar as it focuses on historical examples of hierotopic projects, that is, projects establishing a medium of communication between the mundane and the sacred. Though related with religious mysticism, hierotopy deals first and foremost with forms of conscious, creative activity. According to the hierotopic approach, icons and other sacred artifacts are viewed not as isolated objects, but as components of larger hierotopic projects. Though such artifacts often play a prominent role in hierotopic studies, it is these projects themselves – including both their conceptual and artistic aspects, as well as the historical developments leading to their formation – that are the primary focus of study. The role played by the creators of sacred spaces is also of chief importance, and could be compared with that of an artist. The creative element at work here resembles the work of contemporary film directors, for both involve the coordinated effort of various artists and specialists in shaping a single, comprehensive vision.〔A. Lidov. "The Creator of Sacred Space as a Phenomenon of Byzantine Culture" in ''L’artista a Bisanzio e nel mondo cristiano-orientale'', ed. Michele Bacci, Pisa, 2003, pp.135-176〕 As examples of hierotopic projects, one can consider King Solomon's construction of the First Temple, the erection of Hagia Sophia by Emperor Justinian, as well as the work of Abbot Suger in the conception of first Gothic cathedrals. Hierotopic projects are not limited to churches and sanctuaries; in other cases, landscapes,〔Sh. Tsuji. "Creating an Iconic Space. The Transformation of Narrative Landscape" in ''Spatial icons. Performativity in Byzantium and Medieval Russia'', Moscow: Indrik, 2011, pp. 627-642〕 architectural compounds 〔G. Zelenskaya. "New Jerusalem near Moscow. Aspects of the Conception and New Discoveries" in: ''New Jerusalems. Hierotopy and iconography of sacred spaces'', Moscow: Indrik, 2009, pp. 745-773〕 and even cities〔E. Kirichenko. "The Church and the City: on the Symbolic and Structural Unity of the Russian Sacred Space" in ''Hierotopy. Comparative studies of sacred spaces'', Moscow: Indrik, 2009, pp. 292-322〕 and countries〔V. Petrukhin. "Hierotopy of the Russian Land and the Primary Chronicle" in ''Hierotopy. Creation of Sacred Spaces in Byzantium and Medieval Russia'', Moscow, 2006, pp. 480-490〕 have become products of hierotopic creativity. The topics of hierotopic study cover a broad span of interests and range, for example, from the role played by light in church architecture 〔A. Godovanets. "The Icon of Light in the Architectural Space of Hagia Sophia" in ''Spatial icons. Performativity in Byzantium and Medieval Russia'', ed. A. Lidov, Moscow: Indrik, 2011, pp. 119-142〕 to the study of religious ceremonies, feasts〔L. Beliaev. "The Hierotopy of the Orthodox Feast: on the National Traditions in the Making of Sacred Spaces" in: ''Hierotopy. Comparative studies of sacred spaces'', ed. A. Lidov, Moscow: Indrik, 2009, pp. 270-291〕 and folk customs.〔A. Moroz. "Sacred and Horrible Places. Creation of Sacred Spaces in Traditional Culture" in: ''Hierotopy. Comparative studies of sacred spaces'', ed. A. Lidov, Moscow: Indrik, 2009, pp. 259-269〕 The comparison of hierotopic models at work in different cultures is another focus of interest.〔N. Isar. "Vision and Performance. A Hierotopic Approach to Contemporary Art", in ''Hierotopy. Comparative studies of sacred spaces'', ed. A. Lidov, Moscow: Indrik, 2009, pp. 341-375〕〔M. Chegodaev. "The Hierotopy of the Ancient Egyptian Sarcophagus" in ''Hierotopy. Comparative studies of sacred spaces'', ed. A. Lidov, Moscow: Indrik, 2009, pp. 18-37〕 Five international symposia (2004, 2006, 2009, 2011, 2014) have been organized on hierotopic subjects. == Spatial icons == The concept of the ''spatial icon'' plays a central role in hierotopy and is used to describe the perception of sacred spaces. Spatial icons are understood to play a mediating role between the mundane and the sacred. They are mediatory images that are evoked, for example, in the space of a temple or sanctuary.〔A. Lidov. "Hierotopy: Spatial icons and Image-Paradigms in Byzantine Culture", Moscow: Theoria, 2009, Ch. 2. Spatial Icons. The miraculous performance with the Hodegetria of Constantinople. pp. 39-70, 311-316〕 Hierotopic creativity is a sort of art, which can be described as the creation of spatial icons. This concept applies to the way in which the perception of architecture, light, image, ritual practice, as well as various other components forming sacred spaces, is unified into a single vision. It is also used in the study both of "sacred landscapes", such as the New Jerusalem Monastery near Moscow, as well as of various ritual practices creating iconic medium, such as the Donkey walk in medieval Moscow.〔M. Flier. "The Image of the Tsar in the Muscovite Palm Sunday Ritual" in ''Spatial icons. Performativity in Byzantium and Medieval Russia'', ed. A. Lidov, Moscow: Indrik, 2011, pp.533-562〕 Spatial icons are essentially dynamic and performative in nature, such that the formal boundary between ‘image’ and ‘beholder’ no longer pertains. Typically, the beholders of spatial icons are actively involved in some way and become, to a certain extent, co-creators of the icons.〔A. Lidov. "The Byzantine World and Performative Spaces" in ''Spatial icons. Performativity in Byzantium and Medieval Russia'', ed. A. Lidov, Moscow: Indrik, 2011, pp. 17-26.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Hierotopy」の詳細全文を読む スポンサード リンク
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