نوع مقاله : علمی ـ پژوهشی
نویسنده
دانشیار، گروه پژوهش هنر، دانشکده هنر، دانشگاه سمنان، سمنان، ایران.
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسنده [English]
The present article aims to explain the reciprocal relationship between art and theology by illuminating the dimensions of "service" (fidelity) and "treachery" (betrayal) of art toward the realm of theology from the perspective of Gilles Deleuze. The main question is: How does art, in Deleuze's view, commit treachery against theology? By identifying the type of level of composition in artworks, the type of theology and the relationship of religious arts to that level becomes clear. We analyze Deleuze's views using a descriptive-analytical method. The result of the present research shows that the transcendence (ta'ālī) of the supersensible in theology is dependent on the type of level of composition; this transcendence can be realized in manifest, hidden, or completely surpassed forms. In a portion of Christian art during the Middle Ages, the idols and icons are dependent on transcendence. The projection of transcendence causes the level of composition to be filled. In the Catholic tendency within Christian art, transcendence has been surpassed, and a distance has been taken from Christian icons or idols. Artists create artistic idols based on the aesthetic level of composition. This aesthetic level of composition nourishes the core of atheism (Godlessness), which is based on the atheistic power of line and color. Artists, in the name of God, permit themselves to cover the aesthetic level of composition with heavenly, earthly, hellish, and paradisiacal feelings. The more the artist depicts fantasy, violence, and punishment, the more their scope of permissible acts, in the name of God, increases morally. The conclusion of this scope expansion, contrary to its religious subject matter, is atheism from an aesthetic and moral point of view, and consequently, treachery.
کلیدواژهها [English]
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