Michelangelos Attitude to the Human-Divine Axis: Michelangelo and Modernity Avi Kujman

ISBN: 9781497359529

Published: June 1st 2014

Paperback

272 pages


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Michelangelos Attitude to the Human-Divine Axis: Michelangelo and Modernity  by  Avi Kujman

Michelangelos Attitude to the Human-Divine Axis: Michelangelo and Modernity by Avi Kujman
June 1st 2014 | Paperback | PDF, EPUB, FB2, DjVu, talking book, mp3, RTF | 272 pages | ISBN: 9781497359529 | 4.64 Mb

According to A. Kujman, the divine Michelangelo or the Sublime of Michelangelos art, as traditionally interpreted, obscures the true movement, the very gusto of Michelangelos art. The interpretation of externality as explanatory to what isMoreAccording to A. Kujman, the divine Michelangelo or the Sublime of Michelangelos art, as traditionally interpreted, obscures the true movement, the very gusto of Michelangelos art.

The interpretation of externality as explanatory to what is attempted (Sublime in general) or the reading of Michelangelo through the traditional religious context, darkens the purpose and way of Michelangelo: if anything, it overclouds the authentic voice of Michelangelo within this tradition- his specific voice that tries to question the possibility of sculpture, i.e., of the perfect human being, as a reaffirmation for the possibility of God at all, by trying to show it in point of fact- by trying to work for it within a sphere of faith that supposes the God of Love- the God of Love as enabling the human-divine axis as to be observed in its ending-point (as distinguished from the current art and criticism that questions the axis only from without, historically: while starting with the position of mere becoming- the same art and criticism that bring us, thus, to the very problem of explaining the passion behind this art and criticism from the first place, to say nothing about other problems).

While being deprived of the successful ending-point, while having but the effort and the relative progress within the questionable axis, the actual attitude of Michelangelo against the naked metaphysical question- the question of modernity, whether or not the projected discourse to God and Heaven could be revealed for the human from the here- is displayed in all its suggestiveness and gusto. The attitude that appears to ask for the perfect image and the perfect experience through the work of the spirit in the body and for the reflective test of the eye- the same attitude that gives precedence to action- that is full of faith in the possibility of the perfect man, but an attitude that asks, in the end, for the Judaic test of the eye- to experience the Truth-Logos-Love in point of fact.

By dealing, apropos Michelangelos art (mainly, The Medici Chapel and The Sistine Chapel), with this central point (i.e., the God that is to be revealed by and for the human), A. Kujman reacts on Michelangelos art in a way that tries to question the meaning of modernity, from its very cradle- and thus to raise the question if the popular claim for the so-called total failure of modernity is not, in fact, an ideological claim the intention of which is to celebrate the bourgeois despair. By connecting modernity to Michelangelo, by rereading through Michelangelo the modern question of God for humanity, the author also hints to us as to the implicit conservatism of the (current?) Debate on God- among other things, a suggestive reading regarding the possible synthesis of Judaism and Christianity, in the way of a humanistic interpretation of religion, is also presented through the action of the Hebraic-Christian Michelangelo.



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