Abstract
Rosalind Kraus, a critic and theorist known for her opinions and views on contemporary visual arts, challenges traditional definitions of sculpture in an article titled “Sculpture in the Expanded Field.” In this article, she uses scientific reasoning to understand sculpture in a broader way that goes beyond the known definitions, and she acknowledges that the ritual and collective rituals of ancient civilizations can be reinterpreted in the generalized logical field of sculpture (which is a four-dimensional diagram based on Klein’s classification). Based on Krauss’s ideas, the “Kaaba” can be reinterpreted as the most important and sacred human artifact for Muslims, which is considered a field for rituals. Therefore, the aim of the present study is to read and view the Kaaba from Krauss's perspective and his approach to the nature and broad definition of sculpture in order to answer the question: What is the position of the Kaaba in the expanded field of sculpture, based on Krauss's views? The research method is descriptive-analytical, and the information was collected from library sources and analyzed with a qualitative approach. As a result, by relying on the theoretical framework of the article and based on the diagram of the generalized status of the sculpture in a logical field and from a broad perspective, the design of the Kaaba building can be placed beyond the traditional categories of architecture and art, and relying on the expansion of the critical categories of Kraus's perspective, the Kaaba, which is not only an architectural form but also an important cultural and spiritual symbol, can be reinterpreted as a "sculpture" in the expanded field of sculpture. This approach allows us to examine more closely the significance of the Kaaba, both as a religious structure and as a cultural artifact, and to reconsider more precisely the definition of sacred spaces and their functions in religious contexts. This perspective enriches our insight into how the Kaaba functions not only as a building but also as an integral part of the spiritual landscape that shapes the experiences of millions of Muslims around the world. The Kaaba can be seen as an embodiment of this flexibility, in which meaning evolves based on individual and collective experiences in cultural, historical, and spiritual contexts. We reach the Krauss’s idea of dynamic interpretations: meaning in art is not fixed but is formed by interaction with audiences and their interpretations. Artworks exist in a state of change, shaped by cultural and ritual narratives.