Abstract

Natural light is the one which originates from the sun and the stars. Philosophers and intellectuals believe that spiritual and mystical light, apart from having a materialistic aspect due to its nonphysical characteristics, is considered a kind of bond between God and man in a spiritual dimension. With descriptive-analytical and comparative methodology, the present paper reviews the implication of natural light in the architectural spaces of film such as Bergman’s winter light. Winter light, influenced by western religious and human thought, is a story of a priest who after the death of his beloved wife becomes skeptical in his spiritual belief, but he is bound to invite others toward true faith due to his occupational compulsion. However, since his own faith is weak, his speech lacks the real effects. The focus of the study’s discussion here is the use of natural light as virgin and spiritual in implicating the architectural surrounding of the above-mentioned film and that in these spaces, man is shown with invisible symbols and diverse phenomena including spiritual light.

Key words: Natural light, spiritual implication, architecture, cinema, winter light.