Abstract

This paper argues that for sacred art to remain sacred art it must follow certain traditional forms of aesthetics, which in turn allow it to be conducive as a vehicle toward intellection. Moreover, this paper argues that sacred art can only be called such when it follows the inherent symbolism of the religion from which it originates. The arguments for the above position take place against the background of Aldous Huxley’s definition of the perennial philosophy and a more traditional approach to aesthetics, this is somewhat contrary to the rationalization and humanization of sacred art, which has become more apparent since the Renaissance