Abstract
Developing a thought about esthetics as a principle of spiritual union, the author, Tomas Spidlik, uses the definition of Soloviev for the integral truth as: “all-embracing unity of Being itself” which is expressed in the words: “Being, the One, the All”. The research of this type of unity remains without result, given that in the European culture there is no interplay between an empirical science, philosophy, and theology.
Thats why a philosophical theological “Summa” is no longer possible. Soloviev therefore moves rather to esthetics as a criteria of unity.
As a result of this, art which produces the beautiful, carries on a unitive function between all of the fields of human knowledge which would otherwise remain separate. Contrary to rational investigation founded on the Cartesian principle of an idea as “clear and distinct”, the esthetics approach applied to reality discovers the beautiful in the presence of one in another.
From a theological standpoint, the culmination of the beautiful is found in the humanity of Christ, precisely because “he who sees me, sees the Father” (Jn. 14:9.). The highest model of art, the icon draws admiration not to the beautiful form or a consideration of psychological states, but to the knowledge on the degree of spirituality of the one who is beeing represented.
This is the level of the presence of the Holy Spirit in the person. The icon in a dynamic interplay foreshadows the aim of human life which is “divinization”.
Every art has the need of inspiration. This element “from outside” may restrict the freedom of the artist and leads into the realm of the demonic.
The inspiration of the Holy Spirit is the only one inspiration which permeates man, not restricting freedom, but increasing it, opening the way to an effective creativity. All true art reflects the Marian mystery of the working of the Holy Spirit (P.
Evdokimov). Along this line art develops its sacramental aspect as a sign-symbol of divine inspiration and also its liturgical aspect.
This is due to the fact that the natural ambient of art is the liturgy which should be “beautiful”. Similarly, as in the liturgy where Christ is made present in the word and under the forms of bread and wine, artists also identify an image with a word.
Therfore a holy image has a dynamic and dialectic quality. It has the capacity to speak and announce the truth and to make this operative in the world.
So too with art whose aim is to make participate in grace (cf. St.
Luke the Evangelist and Painter). In doing this, art in the first place employs the symbolism of light.
The author presents a comparison of the symbolic use of light in Western and Eastern art. He shows light, as a symbol of grace in the icon, which does not come from outside, but seems to spring from the heart of the person who has been divinized, emanating the light on the whole of creation.
The Transfiguration on Mount Tabor is therefor considered the model icon which reveals, not only the artistic ability of the iconographer, but also his “sofianic” vision of the universe. Concentrating on the incarnation of the Word in concrete space and time, religious art also presents a social aspect.
This is its helping to make comprehensible the truth of faith of men in time and in a particular culture. The author asks for the artists a freedom of expression, but also requesting in return from the artists the responsibility not to invent an exaggerated style which isolates, but rather a style which correspondes to the faith of the people.
After tracing the principal defects of contemporary religious art, the author raises the question of a sufficient education in esthetics which is urgently necessary in the era of the image in which we live. To know how to read the image it is necessary to go beyond the mentality of looking at things “clearly and distinctly” and rather to reawaken the sense of symbolism.