By C.A. Tsakiridou
Icons in Time, individuals in Eternity offers a severe, interdisciplinary exam of up to date theological and philosophical reports of the Christian photo and redefines this in the Orthodox culture via exploring the ontological and aesthetic implications of Orthodox ascetic and mystical theology. It unearths Modernist curiosity within the aesthetic peculiarity of icons major, and crucial for re-evaluating their dating to non-representational artwork. Drawing on classical Greek artwork feedback, Byzantine ekphraseis and hymnography, and the theologies of St. Maximus the Confessor, St. Symeon the hot Theologian and St. Gregory Palamas, the writer argues that the traditional Greek suggestion of enargeia most sensible conveys the expression of theophany and theosis in paintings. The features that outline enargeia - inherent liveliness, expressive autonomy and self-subsisting shape - are pointed out in exemplary Greek and Russian icons and regarded within the context of the hesychastic theology that lies on the center of Orthodox Christianity. An Orthodox aesthetics is hence defined that acknowledges the transcendent being of paintings and is open to discussion with diversified pictorial and iconographic traditions. An exam of Ch’an (Zen) artwork idea and a comparability of icons with work via Wassily Kandinsky, Pablo Picasso, Mark Rothko and Marc Chagall, and by means of jap artists inspired via Zen Buddhism, show fascinating issues of convergence and distinction. The reader will locate in those pages purposes to reconcile Modernism with the Christian photograph and Orthodox culture with inventive shape in artwork.
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Additional info for Icons in Time, Persons in Eternity: Orthodox Theology and the Aesthetics of the Christian Image
Sample text
5–6. 10 S T, I, q. 8, a. 3, ad 2. Thomas Aquinas, The Summa Theologiae of Saint Thomas AquinasLatin English Edition, Vol. 1, Prima Pars, Q. 1–64 (Scotts Valley, 2008). 11 Thus, for Aquinas things reveal their sanctified being when seen intellectively in their pure act of existence. By contrast, for Maximus and Orthodox theology the intellective act is replaced in theosis with a comprehensive or total perception in which all the senses participate. For Maximus, the God who incarnates silently in the human person is the God of a purgative, rehumanizing asceticism—rather than an efficacious (Aristotelian) causality.
42 The ascetic who converses with God inhabits God or participates in divine being. The exemplary image has a similar, intimate relationship to its object: it participates in its being and makes it present aesthetically. This study pays special attention to the aesthetic ideas of Modernist artists. Some serve to remind us that the integrity of the art object is not only a concern for the Christian theologian. For these artists, theory is an epiphenomenon of art rather than an inimical part of its being.
And the fourth is Heidegger’s idea that the radical depletion of being in Western modernity can be reversed by art’s onto-poetic potency—a potency, though, that it owes to Being and not to itself. It gave rise to attempts to re-center the aesthetic in the realm of ontology rather than consciousness. 38 Maximian theology allows us to draw aesthetic principles that are consistent with these ideas and can apply to the icon as a spiritual being. His deification (theosis) ontology suggests the radical realignment of perception and object in asceticism, under the concept of reverence (eusebeia).