A Note From A Friend to Novak About The Jerusalem Gate

A work of art is like a stateless person without ordinary allegiances to political or geographical or temporal boundaries. While it is born in a mind, nurtured in a culture, disciplined by a metier, it’s boundless realm is all space and all time, it’s first loyalty is to all mankind, it’s deepest faith is in the immortality of beauty.

The Jerusalem Gate is not a monument to a place, however hallowed, nor to an ego, however powerful, nor to a state, however proud. Like some celestial calligraphy, it inscribes in one giant heroic flourish in space a triumphant and universal celebration of the human spirit itself.

 

Jerusalem Gate


This photo composite illustrates the future "Jerusalem Gate", in scale to its
intended location, where Jerusalem is first sighted on its western approach.


Introducing the article below:

Late in 1984, one year into the Jerusalem Gate Project, a few of Jerusalem’s scholars compiled a list of ten men, believed to be the world’s greatest minds of that time. As much as Novak’s assignment was to meet all ten men, Professor Mercia Eliyade was singled out as first choice to create an essay for the project ,hopefully to encompass the gamut of the metaphysics, to articulate the essence of the Jerusalem Gate. Before their truly extraordinary first meeting in Professor Eliyade’s Paris apartment, Novak had no idea that Eliyade only had a few months to live . The time he had left was consumed entirely with the 700 teams of theologians which he had assembled and who had labored over three years creating the encyclopedia of world religions (thirteen volumes published by McGraw Hill). “I am dying of rheumatoid arthritis, but for the Jerusalem Gate I must........”, said Eliyade. They met a few times and talked by phone a dozen times, six months on they met for Eliyade to sign the final draft of his essay for the Gate; he died a few days later.


THE JERUSALEM GATE
AN OPEN LETTER
BY
Mircea Eliade

WITH

F. W.

 
When Gyora Novak brought me news of the Jerusalem Gate, I enthusiastically agreed to view the model.

As an historian of religions, I have always been fascinated by the symbolism and ritual function of sacred places. I was eager to see how the artist had expressed the universal quality of the Holy City and anxious to determine if he had in some way passed beyond the specific symbolism of the three monotheistic religions.

My wondering set the stage for creating criteria, whether particular or general, biblical or universal—those that focus upon established patterns, traditions, and knowledge; those that emerge from personal emotions; those that confront minute variations among like phenomena—all those shards and fragments that, assembled, address the totality of sacred history.

Jerusalem became a Holy City to three religions. For some, such places are the destinations for pilgrimage and the highest devotion; to others, the shrine less symbolic nature of their very existence is what matters. Such an axis-mundi is quintessentially a sacred domain within which man can proclaim the knowledge that he shared with the gods and dramatize the cosmic truth that has been revealed to him. There lies the final importance of such a city as Jerusalem—its enduring holy nature.

…and the Temple is in the center of Jerusalem, and the Great Hall is in the center of the Temple, and the Ark is in the center of the Great Hall, and the Foundations Stone is in the front of the Ark, and beginning with it the world was out on its foundation.

In a great number of cosmogonies, the Creation began in a central place, and in some traditions this center was imagined as the navel of the earth.

The Holy One created the world like an embryo. As the embryo proceeds from the navel onwards, so God began to create the world from its navel onwards and from there it spread out in different directions.

Mishna

While waiting to view the model on the early autumn afternoon in Paris, I found myself trying to imagine the Gate. I was eager to see if Gyora Novak had successfully combined universal and biblical dimensions in his imagery. When the artist finally uncovered his model of the Jerusalem Gate, I made no attempt to disguise my enthusiasm. What I saw was undoubtedly a new, original, and inspiring synthesis of both universal and monotheistic traditions. While he had chosen to exalt Holy Jerusalem through the well-known symbolism of gates, his vision had enabled him to elevate this gate to a level of meaning one could scarcely have imagined before.

In the concept of the Jerusalem Gate, the artistic and religious imaginations are uniquely wrapped around one another, and three-dimensionally conveyed. It took time for me not only to grasp its esthetic content and structural implications, but time to register what was to come into my heart. I was not only awakened artistically and intellectually—I was crushed by revelation: moral, visual, spiritual.

What I felt was beyond admiration, and I believe it will be so for everybody. This object transcends this world, yet is familiar in feeling. It is spiritual in its way of barely touching the ground, yet is being materialized by man here and now. Its unique shape, a cosmos full of meanings, while not extravagant is extremely charismatic and wide-spanned, stretching between the emotions and mathematics, between its rooted human sources and obligations and the purest abstraction of its beauty in one instantaneous curve.

While the Gate’s form, modern, abstract, monumental, is expressed in space-age terms, its symmetry is compounded of simple and basic numbers, that primal arithmetic which served in early religious practices. Its proportions possess the historical rightness of those ancient sacred ratios. The Gate is a helical progression of an upright pattern, a golden line on constantly changing mathematical curves. It creates the phenomenon of place not through the reality of enclosure but through the more conceptual means of drawing a line, of marking a threshold, of declaring an opening, of embodying openness itself.

Like all gates, this Gate lives by, and enforces by its very essence, a line. And yet, while it exists as a line, perhaps a more mystical function has the effect of making space and time legible. I could not previously have imagined such totality of realization bridging microcosm and macrocosm. The Gate is there and not. It is there in gatelessness. It is that critical point of encounter between the profane and sacred. It proclaims entry not only into Jerusalem, but into a realm of genuinely universal meaning.

The Gate’s abstract form uniquely and simultaneously evokes in us all the shared and the personal, the universal heritage embedded within the labyrinthine and native specifics of Jerusalem. It stretches between the wonder of imagination and the physical laws of science. It arcs over time and myths, inviting an open-ended eclecticism of independent facets and points and at the same time resolving their separateness by erasing all boundaries between them. It forges out of multiplicity a new and singular all-encompassing mode, that whole which is greater than the sum of its parts: Oneness. Such harmonizing of vast diversities leaves us all in awe—charged and challenged.

Without seeing the model it is impossible to grasp the mysterious originality and fascination of Novak’s creation. The Gate is a spatial experience; any attempt to translate it into verbal of graphic equivalents, must fail to transmit its essential reality. By not being verbally or depictive concluded, the Gate remains invincible in space.

Like the great classical monuments and statuary of the past, with the Gate we confront a whole population of values waiting beyond its sheer beauty as an object: here is hope; here is passion; here is faith; here is the future. Here is the presence of the beyond. I think more and more of the Gate in such terms. In all ancient religions and sacred traditions there was a premise of celestial-model. Every terrestrial phenomenon corresponded to a heavenly blueprint with consecration serving as linkage. Speaking for the living and the inanimate:

To each blade of grass and grain of sand on earth there is an angel in the sky telling it to be.

Zohar Genesis 251 Paraphrased

Once such a transcendent model exists, the impossible is feasible. Terrestrial Jerusalem had countless prophets and poets speak through the ages of celestial Jerusalem, linking the incarnation, the city, to the source, the cosmic. In that self-same sacred context, I believe in the existence of the Jerusalem Gate’s ancient and unearthly prototype.

And yet, the Gate speaks with a modern voice. This splendid monument arouses our pride in our time. It belongs to us. It is made new. The Gate is a magnificent, contemporary manifestation of human genius.

While resting upon celestial footings, it deals eloquently with a vast secular range of daily earth-matters, curving over the reality of roads and ushering in the tangible Jerusalem.

Roads, like gates, are known symbols. Here the two intertwine, physically and spiritually. The rise to Jerusalem and the inaugural presence of the Gate bring this wedded symbolism to life in a feverish sense of expectation as though building to a promise-heightened announcement of revelation.

“Jerusalem” is a phonetic approximation of the indigenous expressions: “Yerushaliaiim,” in Hebrew, “Urshalim,” in Arabic, both meaning “City of Peace.” Over the repeated devastations of Jerusalem’s past, those words float like a prayer to forestall apocalypse. The Gate is itself a renewal of that verbal legacy, of that prayer, of the promise: Peace.

Pray for the peace of Jerusalem: they shall prosper that love Thee.
For my brethren and companions’ sakes, I will now say, peace be within thee.
Bible: Psalm 122:6-8

And Allah invites to the abode of peace and guides whoever wills onto a straight path for those who do good there is good and more.

Koran: Chapter 10, Verse 25

Just as the Gate’s physical nature is dramatically transformed depending upon one’s chosen sightline or vantage point, so the Gate’s deeper testimony will vary and fluctuate depending upon those inward perspectives which one brings to this creation.

Simple or complex. Topical or timeless. Finite or endless. The possible interpretations are themselves endless. Ultimately the Gate, like all great works of art, may alone hold the key to its own meaning – a dream beyond a dream, a secret utterance.

No matter what variations exist in perception, however, everyone who approaches the Gate must be drawn irresistibly into a singular democracy of experience. In one golden instant of alchemy, the Gate persuades us, however unexpectedly, to cross some personal boundary and leads us, however unconsciously, to some lasting transfiguration.

The Jerusalem Gate has given me strength, well-being, and the kind of joy one feels when sudden good news floods indifferent years in a wonderful light. While the Gate has no obvious religious symbolism or function, no sacred obligation to tradition, tacit or concrete, yet inevitably one is confronted with a sheer religious experience.

As if to seal this paradox, the appearance of the Gate viewed from one specific angle takes on the form of the Hebrew letter sheen, a representation of the word shadaii – the Almighty. The Christian symbol omega constitutes this very same form and stands for the perfect totality. Again, the same configuration, a calligraphic abstraction of the Arabic Lillah, telescopes the three meanings: of God, to God, for God.

While a colossal and unswerving earthbound reality, the Jerusalem Gate, like some cosmic sign, summons up the three monotheistic traditions and that divine and universal presence which inhabits all traditions and unites them at the source.
 

THE JERUSALEM GATE

EXCERPTS FROM LETTERS RECEIVED


The following are excerpts from some of the letters received, to date, of those who have been kind enough to write of their reactions, thoughts, and ideas concerning the proposed “Gate to Jerusalem.” They represent a very great range of backgrounds, professions and callings and are eminent authorities in their fields. Many more letters are expected and yours, too, would be most welcome. The “Jerusalem Gate Foundation” email address c/o is:

orrmaakom@cox.net

Ronald Allery; Keeper of Modern Collection, Tate Gallery – London.
“…a very bold and imaginative conception, both visually telling and powerful symbol to mark the point of entry into this very special city.

George Appleton; Retired Anglican Archbishop of Jerusalem.
“I am deeply impressed by it, for it seems to me to…symbolize the spiritual greatness and eternal message of Jerusalem.”

Israel E. Ashkenazi; Professor, Sackler School of Medicine, Department of Human Genetics, Tel Aviv University, Tel Aviv.
“I’ll refrain from referring to its pure beauty and grasping strength which embrace, both, physical and spiritual essences.”

“Forgive a scientist for reducing the intensity of your creation to a mere formula and numbers but please remember that for me this formula describes one of the most beautiful features of nature if not life itself.”

Paul Atterbury; Editor, Connoisseur Magazine, London. A New Gate for Jerusalem, April 1981 London. “The proposed ‘Jerusalem Gate’ is a remarkable idea, and heroic concept that seems to defy reason, logic and political and economic reality. It represents a fundamental belief in perfection, and in the ability of the artist to impose order and harmony upon chaos. It is an attempt to capture the emotional and spiritual impact, and the visual excitement of the entry into Jerusalem, at once a landmark, and expression of welcome, and the celebrations of entry into a city sacred to several great religions.”

“The spiral is both a continuum and an arch bringing together the precise point and time of entry with infinity, as such, it echoes the manifold symbolism of the arch.”

“The helix sweep of the spiral represents power, movement and the continuity of the universe. At the same time the ‘Gate’ is a major and original artistic statement.”

David Battie; Director, Sotheby’s Belgravia. – London.
“The project seems, quite rightly to have excited the most tremendous international interest. Quite apart from its: undoubtedly aesthetic qualities, it could have some influence, because of the number of people, of all nationalities and creeds involved, fro the good in the world, acting as a symbol of unity and peace.”

Peter Blake; chairman Department of Architecture, Catholic University – Washington D.C. “…extraordinarily interesting. In form, in scale, and in details and finish, the proposed archway should be a significant asset to the city – a symbol that would be acceptable to everyone with a stake in Jerusalem.”

Lance J. Brown; Coordinator, Design Arts Program, National Endowment for the Arts, Washington, D.C. “The project you revealed to me this morning was lyrical, powerful, gracious, enduring and so much more that others have written and that others will no doubt write.”

Edward Carpenter, Dean of Westminster Abbey – London
“The Gate, ever open to Jerusalem both to come in and to go out, thrills me and captures my imagination – architecturally, ideologically, emotionally and spiritually. It carries along with it so many nuances and insights desperately needed to suggest new vistas, to fresh hopes and to bolder aspirations. Where more fittingly could this gate be placed than in the historic setting of Jerusalem, sacred to many faiths and symbolically more widely than even these: and where more needed to point an ironical way ahead as we endeavor to redeem our past and seek fulfillment in a more glorious future.”

Jack B. Carter; Acting Director, Wright Art Gallery, U.C.L.A. – Los Angeles.
“…an inspiring, exciting, dynamic form – a spiral line that seems to turn endlessly – an orchestrated universal rhythm…I hope to see it someday on Jerusalem Landscape!!!”

Christo and Jeanne Claude; Artists.
“We strongly support this work of art which will be an important contribution to the spirit of modern art in Israel.”

C. West Churchman; Acting Chairman, Center for Research in Management, Professor Emeritus, University of California, Berkeley.
“The gate’s design is a marvelous combination of religion and aesthetics. A spiritual-religious idea, its design gives the feeling of immensity; it inspires religious experience by its constantly-changing aspects and its evocations of immensity beyond its apparent size.”

Haim Cohen; President, Supreme Court of Israel. – Jerusalem.

“The ‘Gate’ to crown existing Jerusalem Gates; a western gate unparalleled by glow and shine and gold, which symbolize the renewed building of ‘Jerusalem of Gold’ in the modern era.”

James Tracy Crown; Professor of Political Science, New York University.
“…graceful continuity is what it says to me…I revel in the shimmering abstract beauty…”

Victor de Waal; Dean, Canterbury Cathedral – Canterbury.
“I pray that your Gate will ever by a symbol of the unity of God’s people and their readiness openly to embrace all humanity.”

Arthur Drexler; Architecture Director, Museum of Modern Art – New York City.
“His design is a genuinely original idea for a modern ‘Gate’…far better than any previous modern efforts known to me. It could indoubtedly become one of the major architectural monuments of Jerusalem…and Jerusalem deserves a work equal to its importance.”

Marcel DuBois; Dominican Priest, Director, Department of Philosophy, Hebrew University, Jerusalem.
“…it truly stands at the junctions of time and eternity…an immense and magnificent sacrament.”

David Flusser; Professor, Department of Theology, Hebrew University – A New Gate for Jerusalem.
“The new ‘Gate’ is not important only in connections with Jerusalem. It is a pioneering proof that modern art is able to wrestle successfully with eternal human problems…Its form possess the beauty of a perfect geometrical formula and so it is an expression of the grandeur of the art of antiquity. The ‘Gate’ is a part of an endless line…a demarcation line, a border between the whole holy district and the outside world.”

David M. Furchbott; International Sculpture Center, 17 Washington, D.C.
“Your project is very ambitious"

Benjamin Galai; Writer – Two Gates, Maariv February 13, 1981.
“It is a kind of symbol saying: From here, Jerusalem; up to here, Jerusalem’.”

W. L. Garrison; Professor of Transportation, Institute of Transportation Studies, University California, Berkeley.
“I like the design. It has the symmetry of nature and is the work of man. It is a grand idea and I wish you success.”

Helen D. Goldberg; President, Museum of Contemporary Art – Chicago.
“It is an exciting project which should enlist a great deal of international support.”

Alain Goldman, Chief Rabbi of Paris.
“It is very beautiful work of art and it is necessary to hope that one would soon see its consecration.”

B. R. Grad; Professor Bio-Energy, Allan Memorial Institute, McGill University, Montreal.
“Thus we can see that the shape of The Gate implies something very profound not only of human existence but the existence of all life and beyond.”

Joshua O. Haberman, Rabbi, Washington Hebrew Congregation – Washington, D. C.
“The idea and your design are magnificent.”

J. B. Hasted; Professor of Physics, Department of Physics, Birkbeck College, University of London, London.
“I was most impressed by the model of The Gate…” “The Choice of the helical form seemed particularly appropriate to me because of its importance in biomolecular structure.”

Father Theodore Hesburgh; President University of Notre Dame. – South Ben.
“What I like about your proposed gate is its simplicity… this monument ends in an upward direction and one might hope that it points to day of peace.”

Claire Huchet-Bishop, Ancienne Presidente de International Council of Christians and Jews Amitie Judeo-Chretienne de France. – Paris.
Tes portes seront toujours ouvertes/Elles ne seront fermees ni jour, ni nuit. Ainsi clame le prophete, et voici que se realize la vision: la Porte, concue par l’artiste Gyora Novak, est une monumentale ouverture, vertigineux enjambemant de la montee chantee depuis trios mille ans.
Sigle geant, calligraphie d’un movement rythme, unique, et qui apparait commen en marche lui-meme, appellant tous a poursuivre leur effort vers Jerusalem. Porte qui convie a l’ascension, Porte-espace, elevee d’un seul jet comme un cri de joie.”

Yshayahu Ilan; Professor, Architecture and Town Planning, Technion, Haifa.
The Jerusalem Gate or The Opening to Jerusalem.
“…a victory of miracles, the victory of the hand of the Lord.”
“…there is no more appropriate definition for this gate – the golden thread of hope.”

Islamic Writing – Anonymous
“From on of its multiple perspectives the ‘Gate’ abstracts the Arabic work ‘Lillah’ which telescopes the meaning ‘of God’, and ‘for God’ into a concise and cogent expression.”

Wladyslawa Jaworska; Professor of History – Warsaw, Honorary President, International Association of Art Critics.
“Its perfect monumental form and spiritual expression communicates in the simplest way the opening to something mysteriously unknown to our human condition. To a city which once had been a symbol of sorrow, unhappiness and death, you are going to introduce a message of the new spirit – hopefulness and universality. Why couldn’t you call you gate ‘THE GATE OF LIFE’?”

Peter Jennings, Rev. M.A. – London.
“There are aspects of the Gateway which are breathtaking and beyond words – and aspects too which over coming months are going to demand great verbal exertion!
That golden spiral is the (DNA) spiral of life; it is the spiral of a nuclear accelerator because, as the pilgrim travels through that gateway, into the spiral, it is as though the person is caught, whirled, lifted – transported towards the Jerusalem above, whilst never losing contact with the Jerusalem below. The gate is a symbol that holds together the real and the heavenly, the Jerusalem of the Age to Come with the Jerusalem of stone and sunlight that I love so much. That symbolic gateway to life holds the spiritual and the earthly in a perfect, balanced tension – and will be shared entrance for Jew, Christian and Muslim into that City which, for differing reasons and in different intensities, we all hold so dear.”

Phillip Johnson; Architect. – New York City.
“It is a unique opportunity in the world for a strong and monumental gateway.”

Karl Jatz; Consultant, Metropolitan Museum of Art. - New York City.
“It is a very imposing piece of sculpture, elegant and not oppressively monumental.”

Theodore Kollek; Mayor of Jerusalem.
“I have seen the preliminary model for the new ‘Gate to Jerusalem’ proposed by Gyora Novak. I like the idea very much…”

Franz Konig, Archbishop of Vienna.
“The harmony appears to me as an inspiration of genius, which seems to lie in the gesture of welcome to the city…in the balance between tensions and calm I feel the invitation to freedom and understanding.”

Hava Lazarus-Yafeh, Professor of Theology, Hebrew University – Jerusalem.
“I have no doubt that this Gate can have endless meanings for every religious person, whether Jewish Christian, Muslim or otherwise.”

T. Y. Lin; Professor, Chairman of the Board, T. Y. Lin Int. – San Francisco.
“It was exciting to hear about your Jerusalem Gate proposal. There is no question about its being a viable proposition from the engineering point of view.”

Benjamin Mazar; Professor Archeology, Hebrew University. – Jerusalem.
“It seems to me the ‘Gate’s’ rising will be welcomed and appreciated by those seeking Jerusalem who see in it a mark of deep meaning.”

Richard Meier; Architect Professor of Architecture, Columbia University. – New York City.
“The ‘Jerusalem Gate’ is a contemporary statement of incredible vision. The perception, understanding and thoughtfulness of this project as both an urban monument and an abstract work of art reflects the unique quality which is Jerusalem.

James Parks Morton, Dean, The Cathedral Church of St. John the Devine – New York City.
“The essence of the spirit is to make people open…The Gate is spiritual architecture because it opens us.”
“…for me as a Christian, Jerusalem is above all the symbol on earth of the Heavenly City…All who have been or ever will be born are called to this City. The Gate heralds precisely such a City and invites one to such a city…”

Eli Moyal, Chairman of Mevasseret Zion Municipal Council.
“I believe you have succeeded admirably in creating a gate design which is ‘contemporary’.”

Franklin Murphy; Chairman, Times Mirror, - Los Angeles.
“The genius of the concept is that the abstract beauty is such that any religious group can find within it a symbolism relating to that group.”

Andre Neher; Professor of Judaism, Hebrew University. – Jerusalem.
“Beyond all that I could dream – a dream beyond dream…”

Gerald Nordland; Director, Milwaukee Art Museum.
“The Gate’s design is a three-dimensional realization of a mental or mathematical concept- simple and yet always changing from every point of view. It is easily understandable in its remarkable clarity and yet is it sufficiently complex to constitute a building sculpture of genuine three-dimensional meaning which will engage the attention of the world.”

Arthur North; Director, European Foundation of Arts. – London.
“In this form is embodied the very nature of energy, matter and intelligence, simplicity and complexity, in a reversed mirror-image of the helical catenary, above and below an invisible axis.

It is no opening in an enclosure but an abstraction of openness itself; and opening of the mind before the spiritual truth that lies beyond it.”

Hilel Omer; Landscape Architect. – Tel-Aviv.
“Like great conceptions often are, the ‘Gate’ has a quality of inevitable rightness that all faiths and nations can accept and support.”

Stephen S. Prokopoff; Director, Institute of Contemporary Art – Boston.
“I was struck and pleased by the solution of a very simple but massive form…”

Richard Rogers, Architect, London.
“…The contrast of the hard continuous road against the simple sensuous curved metallic form has the potential of being a great sculpture, well related to one of the entrances to Jerusalem.”

S. Rosenhaupt; Consulting Engineer – Haifa.
“It will be one of the expressions of our era’s spirit to join that which preceded to glorify Jerusalem.

Wilem Sandberg; Museologist – Amsterdam.
“I think this project for Jerusalem is O.K. – speaks for itself.”

Peter Schneider; Canon, Founder of London Rainbow Group
“What strikes me is that it is so essentially new and not merely derivative.”

Edna Shabtai, Educator, Tel-Aviv.
“…The Gate is a mythology. Mythology embodied in esthetic form.”

Patterson Sims; Curator, Whitney Museum.
“Space-age technology and timeless symmetrical forms are fused to create a modern monument.”

Ephraim Urbach; Professor Judaism, Rabbi, Dean Isreal Academy of Science and Humanities – Jerusalem.
“This is the Gate of Isaiah, Micah and Jeremiah. This is the complete and finite ‘Gate thought which is the entry to the mountain of God’s house at ‘The End of the Day’. It will be rightly placed atop mountains and it will rise above hills and all peoples will stream to it.”

Pedro Ramerz Vasques; Architect. – Mexico City.
“May I congratulate you for the excellent idea of The Jerusalem Gate Foundation that, I am sure, will evoke the spirit of brotherhood, peace and reconciliation in an area now charged with many negative particles.”

Massimo Vignelli; Disigner
“I am deeply impressed by the courage, the art, and the vision of Mr. Novak…it just takes this kind of vision to make our world a better place, our environment more significant and our lives more joyful.”

Alan Webster, Dean of St. Paul’s Cathedral – London.
“… the spiritual concept which underlies the idea of a new gate to the Holy City… might mean so much for the peace of all mankind…”

Douglas Webster; Canon, St. Paul’s – Cathedral – London.
There is something very spiritual in the simplicity of concept and design, inclusive and open-ended as it is.”

Frederic Weinstein; Write, Poet. – New York City.
“A work of art is like a stateless person without ordinary allegiances to political or geographical or temporal boundaries. While it is born in a mind, nurtured in a Culture, disciplined by a métier, its boundless realm is all space and all time, its first loyalty is to all mankind, its deepest faith is in the immortality of beauty.

The Jerusalem Gate is not a monument to a place, however hallowed, nor to an ego, however powerful, not to a state, however proud. Like some calligraphy, it inscribes in one giant heroic flourish in space a triumphant and universal celebration of the human spirit itself.”

R. J. Zwi Werblowsky; Professor of Comparative Religion, Hebrew University. – Jerusalem.
“Jerusalem needs a gate…communicating some kind of threshold experience…Such abstract gate has the advantage of being genuinely universal. We have to make the universal ‘gate-experience’ meaningful not only to Jews, Christians and Muslims but to everybody…It must be a ‘gateless-gate’ in this you have succeeded superbly. I think you have found the artistic solution for what is …not just a landscaping problem but a genuinely and profoundly spiritual one.”

Paul Wheatley; Professor, Urbanist, University of Chicago.
“It is massive yet rests lightly, barely touching the earth. It is dynamic yet at rest, symbolizing progress in a context of peace.”

Maurice F. Wilkins; Professor of Biological Sciences, University of London, King’s College, Nobel Prize.
“…I continue to think that your Gate might have great potential as an agent for Peace…As a molecular biologist I might draw attention to the fact that DNA molecule (which encodes the inherited characteristics) has a helical form. It takes this form for reasons of energetic stability, simplicity and economy of design, and also for simplicity of mode of operation. Thus the helix is associated with the idea of fundamental life substance.”

William P. Willey; Lutheran Minister, Writer. – New York City.
“… a symbol of course of the human spirit, but with breath-taking range, fir it encompasses past, present and future in a quite remarkable way.

…it can be a closer circle or an open archway at one and the same time;…it rests solidly on the earth but also reaches (or perhaps only gestures) delicately to the sky;… it winds with sinuosity and grace, but never sounds a sensual note.”

…The ‘Jerusalem Gate’ makes a certain clarion statement about an emergent newness…loftily speaking it message…the ‘Gate’ is a master stoke…the form alone tells all… the ‘Gate’ holds the key to its own meaning…”

“Some have seen in it the power, movement and the continuity of the universe…”
Yossi Yadin; Actor. – Tel Aviv
“The monumental simplicity, almost spiritual, of the metal rising in a wave or an arch into the sky and down and back up again, creating the feeling of elation, a kind of light touch in ‘Jerusalem of Above’.”

E. Yarshater; Professor, Columbia University. – New York City.
“It strikes met as both modern and timeless at the same time. Above all, it avoids all parochialism.”

Sherman Young, The Orson Hyde Foundation. – Salt Lake City.
“Beginning with our first meeting at Salt Lake City June 1981, as you explained your mission, I received a spiritual assurance of the magnificent beauty and majestic simplicity of your Jerusalem Gate, and felt an impelling urgency for this work to go forward in moving and uplifting mankind to oneness with God and with each other.”
 

Art Projects

Fragments Art 1966 | Claims 1967 | Model Art Shows 1968 | Captured Moments 1969
The Jerusalem Gate 1979-1989 |
Galei-Ed 1980 | York 1190 Remembered 1992-2000

 

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