Friday, December 13, 2019
A Revitalized View of the Sacred in Art (from 2011)
Richard
Wagner thought that the Ancient Greeks had created the perfect
art-work, the total-art-work, (Gesamtkunstwerk),
which combined music, dance, and poetry, best seen in the tragedies
of Aeschylus.
Later this total-art split into various factions and specialties for
various reasons, which Wagner said was related to decline.
I would rather use the
term “total-religion” than total art in the sense that the word
“culture” comes from “cultus” or cult. This has (or at least
once had) religious dimensions, because culture refers to the
sanctification of daily life, architecture, clothing, art, literature
and music.
We seem to instinctively
know the principles of beauty, as balance, clarity, moderation,
simplicity, things handsome, pretty---these are classical values.
Mozart did not
invent many of the patterns he used, he improved on the work of past
composers. This defines Ordered
Evolution.
Art can grasp the
evolutionary pattern toward higher forms of beauty, toward Perfect
Beauty, which defines the ascending levels of Godhood by way of material and supermaterial evolution. Truth gives meaning to
Beauty---Godhood is first a Supreme Object or objects and only secondarily a
supreme definition. This view can help us move away from abstract
thinking in art and back to the concrete, back to the material, back
to the object, but also forward to the supermaterial.
Evolutionary Realism in
the art of the projected Theoevolutionary Church can provide art
content, with the new yet very old narrative of life evolving from
the simple to the complex, toward Absolute Beauty and Godhood.
Using “moral
imagination” in art (Russell
Kirk and Burke's term) can keep moral art from becoming didactic
and boring. The greatest art showed this creative moral imagination.
This grounds art in the affirmation of the sacred, but with a
revitalized view of the sacred.
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